As large percentages of younger audiences come to podcasts via YouTube, we ask, is video the new audio? The line between video and podcasts has become blurry in recent years. It's getting harder to say that a podcast is an ‘audio only’ thing. People have been uploading video recordings of their podcasts for years. But what is a ‘video podcast’ - and how do you make a great one? And what about the purists who say, if you don’t have an RSS feed - it’s not a podcast? To help us answer this puzzle, we speak to Alison Lomax, Managing Director, YouTube UK & Ireland and the BBC’s Head of Visualisation, Joe Harland.

As large percentages of younger audiences come to podcasts via YouTube, we ask, is video the new audio? The line between video and podcasts has become blurry in recent years. It's getting harder to say that a podcast is an ‘audio only’ thing. People have been uploading video recordings of their podcasts for years. But what is a ‘video podcast’ - and how do you make a great one? And what about the purists who say, if you don’t have an RSS feed - it’s not a podcast? To help us answer this puzzle, we speak to Alison Lomax, Managing Director, YouTube UK & Ireland and the BBC’s Head of Visualisation, Joe Harland.

In this episode of Podcastology, we’ll discover some of the ground-breaking new formats pushing the boundaries of what podcasts can do. Often, these innovations come from voices and communities who don’t always get heard. We find out who they are, and how they are taking podcasts in exciting new directions.We’re joined by Nicky Birch, who is the Editorial Executive for new formats in BBC Sounds, and Jesse Lawson, a multi award-winning freelance audio producer, sound designer and community facilitator who makes very innovative podcasts with a vast array of young people and previously unheard voices.

What are the magic ingredients judges are looking for - and do they even exist?? Well, yes, according to awards judges. But how do you quantify them? And what do you need to think about if you are setting out to make an outstanding podcast?We’re joined by people who know the answers to some of these questions: Tomi Dixon, who won ‘best new podcast’ at the Arias, for Colouring In Britain, and Talia Randall, who won silver at The British Podcast Awards in the Environment category, and the Sustainability Award at the 2023 Audio Production Awards, for Blossom Trees and Burnt out Cars. We’re also joined by Hannah Hufford - who is a podcast development producer at BBC Audio and was a judge at The British Podcast Awards.

This sounds like a contradiction - after all, you can listen to podcasts anywhere, and the most successful podcasts have a universal appeal. But, all stories come from somewhere, and as we discover, being rooted in a local patch can bring a real richness to your podcast. There is also a growing trend for podcasts which grow from a local community. We speak to award-winning podcast makers who know what it means to tell local stories: Andy Whittaker, a Sony award-winning radio host and podcast presenter based in Nottinghamshire, and Zoe Chamberlain, producer and presenter of the Brummie Mummies podcast. We’re also joined by Chris Burns, who is Controller of Local Audio for BBC Local and in charge of the 39 Local Radio stations in England.

We’ll look at where the medium is now, and where we think it's headed. We consider the future of podcasting, and what's coming next. What does the growing Gen Z audience want? Can technology make listening a more personal, tailored experience? Will your next podcast be presented by a bot?With some geeky language around ‘personalisation tools’ and the effect of artificial intelligence, we gaze into the future with Aniruddh Dimri, BBC Sound’s Head of Product, Cat Agostinho, Co-Director of Imagen Insights, who researches the Gen Z audience, and the Editor of Pod News, James Cridland.

This podcast tackles sensitive and distressing subject matter, including discussion about extremist groups, suicide bombings, chemical attacks and trauma. You don't have to directly visit a traumatic scene to be affected by it. Vicarious trauma affects those viewing or hearing disturbing material or hearing second-hand the testimonies of those directly affected by a traumatic incident. In this podcast the BBC's Chief Medical Officer Dr Clare Fernandes speaks to journalist Abdirahim Saeed, who works for the BBC Monitoring Team which monitors and verifies social media to pull into the BBC's reporting. You'll learn: • what vicarious trauma is • where it can affect colleagues in the BBC, including the types of roles and subject matter • how to safeguard your health, including limiting exposure to trauma and coping mechanisms • how to support and protect your colleagues • where to turn to for help Abdirahim talks about what he's seen when covering extremist incidents, including ISIS and Al Qaida attacks and the war in Syria, how it's affected him and how he limits the effects of vicarious trauma on his mental health. This episode is part of a series focussing on wellbeing and mental health. Further episodes can be found by searching for the BBC Academy podcast on BBC Sounds. A transcript of this podcast is available on the episode's programme page. Although aimed primarily at BBC staff, the advice is useful for all those working in journalism, current affairs or other parts of the media industry who may come into contact with victims of trauma or view upsetting material. Help and support If you've been affected by what you've heard in this podcast, please search for support on the BBC Action Line website. You may also wish to contact NHS services, such as your GP. BBC Staff can talk to their team leader, contact a peer supporter or call the Employee Assistance Programme - details are on Gateway. Useful resources can be found on the BBC Headroom website and, for BBC staff, by searching 'wellbeing' on Gateway. Credits The podcast was presented by Dr Clare Fernandes and produced by Kasel Kundola. Production support was from Helena Lyons. Exec producers for the BBC Academy were Ben Toone, Zoey Glasgow and Kirstie Andrews.

When our mental health is fragile at work it can often be difficult to know who to talk to, where to get help or just find someone to listen without judgement. It can be helpful to talk to someone who understands the pressures of the work environment but isn't necessarily a close friend or team member. At the BBC, this role is fulfilled by members of the Peer Support Network. In this podcast the BBC's Chief Medical Officer Dr Clare Fernandes talks to peer supporter and South-East Today Presenter Natalie Graham. You'll learn about: - how peer supporters can support mental health difficulties, including anxiety, depression, stress or crisis situations in work - what a BBC peer supporter is - and what they're not - other support available at the BBC, including the Employee Assistance programme A transcript is available on the programme page for this podcast. This episode is part of the BBC Academy series on wellbeing and mental health in the workplace. Though this podcast is aimed at BBC staff, you might find some of the content helpful if you work, or would like to work, elsewhere in the broadcast media industry. Help and support BBC Staff can find out more about peer support by searching for 'peer support' on Gateway. You can find further mental health and wellbeing resources by searching for BBC Headroom and listening to further episodes in this series on the BBC Academy podcast feed on BBC Sounds. If you're outside of the BBC and need immediate help please contact the BBC Action Line or Samaritans. Staff can contact the Employee Assistance Programme by searching for it on Gateway. Credits The podcast was presented by Dr Clare Fernandes and produced by Kasel Kundola. Production support was from Helena Lyons. Exec producers for the BBC Academy were Ben Toone, Zoey Glasgow and Kirstie Andrews.

How comfortable are you talking about the menopause at work? Given that 70% of those going through menopausal changes are employed and one in ten of those under 45 have symptoms, chances are a colleague or a member of your team may be experiencing it right now. In this episode, part of the Academy series on wellbeing and mental health in the workplace, the BBC’s Chief Medical Officer Dr Clare Fernandes speaks to content producer and BBC menopause champion Justine Bateson. Justine talks about her experiences of perimenopause, how it affected her physical and mental health and about the support she received working at the BBC. In this podcast you’ll learn: • insights into the menopause, including common symptoms and how it can affect your mental health • how to get support for yourself, a colleague or a member of your team • the importance of sensitive line management • the types of support available at the BBC, including Support at Work and the Women at the BBC staff network This episode is aimed primarily at BBC staff, especially team leaders, but is beneficial for all. You can find more on the topic of mental health and wellbeing by searching for this series on the BBC Academy podcast feed on BBC Sounds. Help and support BBC Staff can find further help and advice by searching ‘menopause’ on Gateway. All listeners can find support on the NHS website. There’s more content on wellbeing and mental health on BBC Headroom, as well as other podcasts in this series.. A transcript is available on the programme page for this podcast. Credits The podcast was presented by Dr Clare Fernandes and produced by Kasel Kundola. Production support was from Helena Lyons. Exec producers for the BBC Academy were Ben Toone, Zoey Glasgow and Kirstie Andrews.

Never forget your audience is there. On occasion you can use them to your advantage to challenge the position of an interviewee. In this minipod, BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker explains how the audience can be your invisible fan club. This is the sixth in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level. Dur 17’06”

Forensic listening allows you to respond to your interviewees’ questions and delve deeper into the story, peeling back the layers of an argument as you do so. In this Minipod, BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker, gives the low-down on digging into the detail. This is the fifth in a series of Minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level. Dur 13’10”

If you’ve done your research the chances are that you’ll already have a rough idea of what your interviewee is going to say. In this minipod, BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker shares his tips on how to prepare for what your interviewee might say. This is the fourth in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level. Dur 11’45”

A confident interviewer needn’t ask long questions. Be curious and wear your knowledge lightly. In this minipod BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker, talks about how to frame your questions and to know when to hold back. This is the third in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level. Dur 13’05”

Pay attention! Listening really carefully to your interviewee can give you the clues you need to unlock whole new areas for discussion. BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker shows how really paying attention can pay off. This is the second in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level. Dur 11’38”

Want to be a more confident interviewer and get the best from your interviewees? BBC TV and Radio Presenter and Academy Interviewing coach, Julian Worricker shows how focusing on what you want from an interview can make all the difference. This is the first in a series of minipods on Interviewing where Julian shares his expertise to take your interviewing skills to the next level. Dur 9’21”

Good writing connects you to your listeners, grabs their attention and makes them remember your story. BBC Academy trainer, Sam Upton, shares some tips to take your writing to the next level. This is the fourth in a series of minipods on audio storytelling, where Sam shares some insider tricks and tips that'll help enhance your podcast, montage or radio package. Dur 8’40” Produced and presented by Sam Upton.

Let your listener experience what’s happening, as it happens, and give extra magic to your storytelling with a stand-up. Academy trainer, Sam Upton, explains how the stand-up can lend your piece an extra dimension. This is the fourth in a series of minipods on audio storytelling, where Sam shares some insider tricks and tips that'll help enhance your podcast, montage or radio package. Dur 8’37” Produced and presented by Sam Upton.

When you’re tell a story on location, do all you can to take your listener with you. In this minipod, BBC Academy trainer, Sam Upton, shares tips for using writing, sound and stand-ups to give that vital sense of place to your podcast or radio package. This is the third in a series of minipods where Sam shares some insider tricks and tips that'll help enhance your audio storytelling. Dur 8’01” Produced and presented by Sam Upton.

If you don’t use sound to help tell your audio story you make it easier for your listener to “tune out”. Sound can give detail, create atmosphere, act as punctuation, vary texture and more. But how much sound is enough? Listen to find out as BBC Academy audio trainer, Sam Upton, explores the many ways that sound can supercharge your podcast or radio package. This is the second in a series of minipods where Sam shares some insider tricks and tips that'll help enhance your audio storytelling. Dur 9’46” Produced and presented by Sam Upton.

Want to bring stardust to your audio storytelling? In this minipod BBC Academy trainer Sam Upton shares some insider tricks and tips that'll help enhance your radio package, montage or podcast. In this first episode Sam explains how planning your piece can give extra depth to your story. With examples from some of the best in the business she digs deep into the elements which, if used carefully, can make your story stand out from the crowd. It’s not just who you talk to but where you talk to them. And sound really matters. Dur 9’35” Produced and presented by Sam Upton.

How audience insights can guide your podcast planning

The backstage technical wizardry that brings your podcast to your ear

How to talk about politics – and entertain as well

Eli Sessions talks to Louise Kattenhorn, commissioning executive for the BBC pop hub network, Lloyd Shepherd, Head of Product at BBC Sounds, and Emmanuella Kwenorty, who develops podcasts for BBC Sounds. Where do they think the world of podcasts is heading, and how is technology changing the way we listen?

In this episode Eli Sessions finds out how to keep conversations natural, with Hannah Hufford, producer of No Country for Young Women, and Sally Heaven, who produces Evil Genius.

In this episode Eli Sessions looks at those beautifully crafted podcasts that tell dramatic stories in depth. He speaks to Rami Tzaber, the editor behind 13 Minutes to the Moon – which told the story of the moon landing in intimate detail – and the commissioner who made it happen, Jon Manel, the BBC World Service’s commissioning editor for podcasts.

In the first of a five-part series on podcasting, Miranda explains: - what makes podcasts distinct from radio programmes - how the role of the presenter is different from that on radio - the typical situation of the listener – on a commute, listening through headphones - how to create a different relationship between listener and programme-maker

In part two of our podcasting series, hear from Jason Phipps, commissioning editor for podcasts at the BBC, and Louise Kattenhorn, commissioning editor for BBC Radio 1 and 1Xtra.

Georgia Catt is a producer in BBC radio documentaries, who has made an award-winning podcast, Missing, for the Untold series. She also produced Fortunately with Fi Glover and Jane Garvey. Emma Conneely is a producer in the BBC’s podcast team, responsible for getting podcasts published and promoted. Georgia says that although she hates poor sound quality on a podcast, you can still get a good recording using a smartphone – but be aware of the kinds of background sounds you could pick up that can be annoying for the listener.

Promoting a podcast can mean anything from creating an audiogram – a clip from the podcast to promote on social media - to making other digital assets such as quizzes or articles to place online and draw attention to the podcast. According to Rhian, promotion at the start of other podcasts “really delivers figures”. But it depends on “generosity” between podcast producers who are willing to help each other with cross-promotions. There’s also the possibility of a podcast takeover – which is when a podcast feed directs listeners to a different podcast for a short time. The presenters of a podcast are also an asset when it comes to promotion. Their social media presence and appearance on other media can raise awareness and drive audiences.

This episode of the Podcastology series includes a discussion about You, Me and the Big C. We recorded it before the death of Rachael Bland. Although the first podcast featured in this episode is about sports – but ranges much wider than that – and the second is about cancer, for Mike, what unites the two ideas is that the relationship between the presenters is the key. With Andrew Flintoff and his co-presenters Robbie Savage and Matthew Syed, Mike said he was confident about the project as soon as the three first talked together: “We sat outside a studio and within less than five minutes, I knew this was going to be amazing.” The three presenters of the cancer podcast, Rachael Bland, Deborah James and Lauren Mahon, knew each other online before the podcast, but had never actually met in person until they recorded together. When it comes to duration Mike is unapologetic about publishing podcasts that last an hour or more: “If the content’s good, why do you want to cut it down?” he explains.

What production kit should you take when producing radio content in the field? Join BBC Academy trainer Sam Upton and newsgathering field producer Tom Quinn as they talk about what sort of equipment you need for radio production in the field. In this podcast you’ll find everything from: - what type of kit bag to use - which digital recorder and microphones works best - which apps and audio editing software you need - which cables, batteries and extra kit will be handy to take

This podcast discusses the main issues around working with children. In it, two BBC experts offer their experience from a wide range of productions and projects. Margaret Burgin, a former BBC news journalist, is the training manager at the BBC Academy responsible for outreach to schools. Catherine McAllister is head of Safeguarding and Child Protection in the BBC Children’s department with special responsibility across the BBC for online issues to do with children. If you're BBC staff and have completed the BBC Academy’s Working with Children course this podcast will act as a refresher and help you reinforce what you’ve learnt. In the podcast, you’ll learn about: - The difference between child protection and safeguarding - The BBC’s Code of Conduct for working with children - When you need DBS and PVG checks - The requirement for licencing - The use of chaperones on productions - Risk assessments for working with children - How to find help and advice in the BBC - When you must refer up or inform a member of the Children Advisor Network BBC Staff can access the Working with Children course and further training resources on the BBC Academy website.

BBC Three's new comedy Man Like Mobeen has made a big impact through social media. BBC Birmingham director Joe Godwin spoke to executive producer Ben Cavey, as well as star and co-writer Guz Khan, to find out about the making of the programme. Man Like Mobeen is set in Small Heath, Birmingham. The production team felt it was important to film in, and cast from, the local community to give the show an authentic feel. The programme set out to tackle negative media representations and give a voice to an often under-represented community. The four-part series tackles a number of challenging issues, such as clashes between the Muslim community and the alt-right. These themes clearly suit BBC Three's core ambitions: make you think, make you laugh, give you a voice. In this podcast you'll learn: - how to develop a comedy character from scratch - about different ways to break into TV comedy production - why it's important for the media to reflect a diverse range of backgrounds and identities - how Guz used YouTube to build a comedy career whilst working as a humanities teacher in Coventry

The BBC Two drama The Boy with the Topknot was based on a true story. That made the jobs of its writer, producer and director all the more complicated as they worked with actors, commissioners and those who are represented on screen. The 90 minute film the Boy with the Topknot, shown on BBC Two, was eight years in the making. It was adapted from a memoir by the journalist Sathnam Sanghera about his upbringing in Wolverhampton and relations as an adult with his family. Jessica Dromgoole asked Sathnam Sanghera, the film’s producer Nisha Parti and its director Lynsey Miller about how the film was made and how their work was affected by its portraying living people – including Sathnan and his parents. The podcast presents highlights from a recent event at BBC Birmingham chaired by Jessica Dromgoole, a BBC drama editor.

It's been running continuously since 1951, comes in 12 and a half minute episodes and was originally billed as "an everyday story of country folk". It's sandwiched between bursts of the unforgettable Barwick Green theme (dum de dum de dum de dum; dum de dum de dum dum). The Archers is a national institution. BBC Birmingham, where it's produced, recently held an Archers weekend, so that fans could find out more about the series. As part of it, at an event in the Archers recording studio, an audience heard from two actors, a writer and a producer on the series about their jobs and a wealth of interesting details about the how the series is made. This BBC Academy podcast presents highlights from the event, where you'll hear about - how the Archers is written - the invention of the character of Rob - how Lilian and Justin's bedroom scenes are recorded - how the child actor playing Henry never knew about the disturbing scene between Rob and Helen that he was part of Taking part were actors Sunny Ormonde and Simon Williams, writer Tim Stimpson and producer Kim Greengrass.

Daytime television was once thought of as the nursery slopes of a TV career. Today its complex formats and production requirements are seen by many as more challenging than peak-time programming. “You will learn more making a daytime show than any other.”– Rachel Innes-Lumsden Smaller teams, smaller budgets and tighter schedules mean there’s little room for error. That makes a daytime production team a well-oiled machine where everyone knows their job. Street Auction (above) and Dom on the Spot are two BBC One daytime series that were given the green light by commissioning editor Lindsay Bradbury. Alongside Lindsay in this week’s podcast are Julia Foot, series producer of Street Auction, and Rachel Innes-Lumsden, executive producer from the independent production company TwoFour which makes Dom on the Spot In this podcast you’ll learn: - the pros and cons of working on daytime programmes - the daytime TV production process - the relationship between commissioning editors and programme producers - the schedules for daytime productions Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

In an era where fake news is fashionable, data can help distinguish the facts from the fiction. But how do you interrogate a spreadsheet and hold the data to account? And how can journalists use data to find stories? The BBC has placed the "interrogation of data" at the heart of its annual plan for 2017/18 and subsequent three-year strategy. Around 12 new staff are being recruited, including data journalists, data scientists, developers, designers, a cartographer, and a first head of statistics who will start in August 2017. Data is clearly becoming an increasingly important storytelling tool. But is data journalism new? And is it a specialist skill or can anyone do it? In this podcast you will learn: - the skills you need to be a data journalist - what makes a good data story - if you need to know how to code or be good at maths to create stories - how 'scripting' can be useful when working with data - how long it takes to learn the spreadsheet skills you need to work on data stories - how quickly you can go from idea to publication "I really hope that sometime in the future we drop the term 'data journalism' because it's just journalism" – Helena Bengtsson Presenter Daniel Wainwright of the BBC England Data Unit is joined by BBC data journalism editor John Walton, Guardian data projects team editor Helena Bengtsson and Paul Bradshaw who leads the new MA in Data Journalism at Birmingham City University. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

With more and more cyber-attacks in the headlines, including this year's NHS attack, BBC Information security specialist Andrea Walker and BBC News technology broadcast journalist Chris Foxx cut through the jargon to show you how to defend yourself against online threats. "We have to keep our information safe so we're not letting other people know where our children are, or our bank details, or where we're going on holiday."– Andrea Walker In this podcast you'll learn about: - the significance of cyber-security - the different types of online risks - spotting hazards - protecting your social media Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

The BBC wants more women to apply for engineering jobs but the advice given at a recent BBC Design & Engineering event could be useful to everyone. In this podcast you’ll hear: - what it’s like to work at the BBC - tips on how to approach a job application - thoughts about changing career direction and goals - specific advice for women The question-and-answer session was chaired by Rebecca Salsbury, interim director of platform in BBC Design & Engineering. The panel included: - Frances McNamara executive product manager at iPlayer - Sareh Heidari, a software engineer in BBC News Products & Systems - Murray Fortescue, head of architecture and engineering for Audience Platform - Dave Walters, head of product, systems and services for BBC TV, Radio & Archives As Sareh Heidari said at the event, “almost pretty much whatever you’re interested in, there’s probably a role for you here at the BBC”. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Virtual reality (VR) and 360 video are the new cool kids on the media block but how will this impact media organisations? Over the past couple of years, projects have been produced on a wide range of subjects, such as Notes on blindness, The Arctic and even one filmed from the International Space Station. The BBC has produced its own VR content too. There's no doubt that VR and 360 both give the user something extra, taking them somewhere they couldn’t go in real life and providing an 'experience' rather than just something to watch. So how should media organisations approach the challenge in terms of creativity, production and distribution? "You have to be prepared to hand over control to your viewers which has implications for how we report on TV."– Zillah Watson In this podcast you will learn: - the difference between VR and 360 video - how broadcasters are currently using VR and 360 - how other industries are using VR and 360 - what's augmented reality (AR) and mixed reality (MR) - will there be a killer app? Zillah Watson, from BBC Research & Development, is an editor who’s been responsible for a number of VR projects at the BBC. She wrote a recent report for the Reuters Institute on VR and 360 in news organisations. Si Lumb is a senior product manager for BBC’s Research & Development Future Experiences team. Rebecca Gregory-Clarke is the lead technologist for immersive technology at Digital Catapult, a government-backed agency that promotes technological development in the UK. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

The Radio 1 breakfast show with Nick Grimshaw achieves more than five million listeners a week, thriving on a diet of the latest music releases, news and guests. The BBC Academy's Roxy Ebrahim-Khan spoke to producer Will Foster, assistant producer Fiona Hanlon and Nick Grimshaw himself to find out what it takes to work on this fast-paced show. In this podcast you'll learn about: - the different responsibilities of presenters and producers - the preparation that goes into each programme - what's most challenging and most enjoyable about working on the show - team dynamics - ways to get your first break in radio "If it's a good vibe in the studio and we're getting on as a production team you can hear that on the radio. You want to be part of it - it feels inclusive." – Nick Grimshaw The production team also shone a light on staffing issues, booking guests, roles within the team, where they get their ideas from, and what happens if teams don't get on or guests don't work out. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Billions of people are using chat apps. Can brand owners and broadcasters make themselves part of these private conversations? And should they? The BBC World Service, the Weather Company USA and youth-led creative network Livity have been exploring ways to engage with these hard-to-reach audiences. This podcast explores how organisations are using short animated images such as gifs as well as chatbots - computer programmes which simulate conversations with humans - to become part of the conversation in private spaces. Communications on these text, email or instant messaging apps is referred to as 'dark social' because, unlike a Facebook share or a retweet, it’s harder for brands and broadcasters to see what’s going on ‘in the dark’. In this podcast you'll learn: • how big-name brands are using ‘dark social’ to promote themselves • what the Weather Channel learnt from audience interactions with its chatbot • about the insight the BBC World Service gained from its first attempt to deliver original journalism via a chat app This podcast is presented by Charles Miller, editor of the BBC Academy blog. He's joined by BBC World Service assistant editor Vladimir Hernandez, series-producer of Young, Angry and Connected, a story of political activism in Africa and the BBC's first WhatsApp journalism project. Also on the panel are Alan Bryant, a planner and strategist at Livity, which helps organisations reach young people, and Domenic Venuto, general manager of consumer products at the Weather Company in the US. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Editing an hour-long factual film can take a couple of months. The editor and director work closely to make the most of what’s been shot and to tell the story as clearly and engagingly as possible. This week’s podcast goes into the cutting room to examine this intense and creative process with two experienced professionals. Sam Billinge is a factual film editor who has worked on a wide range of documentaries for the BBC and other broadcasters in genres including science and business. Jacqui Farnham is a former BBC producer/director and series producer who has made films for Horizon, science biographies and social history programmes. "The film-making process is personal as well as professional. You’re making subjective decisions based on your own feelings and instincts." – Sam Billinge The podcast includes Sam and Jacqui’s take on: - how to brief an editor at the start of an edit - who writes the commentary and picks the best bits of the interviews - how an editor can bring the director a fresh perspective on the rushes - how to handle viewings - what happens in the closing days of an edit Sam and Jacqui also discuss the pressures created by having to rely on a colleague who you may never have met until the start of the edit. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

BBC Three won this year's Royal Television Society Channel of the Year award despite no longer being on television. But how have its commissioning and production processes changed? The BBC Academy's Jas Rao spoke to controller Damian Kavanagh and assistant producers Poppy Begum and Catriona White. "There’s an opportunity in this world about really listening to your audiences and trying to tell stories that will provoke them to have conversations and form communities."– Damian Kavanagh In this podcast you'll learn about: - connecting with audiences - the BBC as a youth brand - pitching programme ideas - the skills required of online content producers Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

You can use sound to tell stories in different ways - whether that's a soundtrack, a character's voice or sound effects for a radio drama. A recent Producers’ Forum session at the BBC studio used by The Archers and Home Front saw a lively debate about the range of skills required in sound production. BBC Academy director Joe Godwin spoke to Neil Hillman, an award-winning sound designer and editor, Marc Silk, a voiceover artist for cartoons, video games and films, and Alice Truman, a soundtrack composer in film, radio and TV. In this podcast you will learn: - how a sound designer creates a film soundtrack - whether to use a boom mic or radio mic to record on location - how a voiceover artist creates characters - how a soundtrack composer works within a film production - how to turn an ironing board into a farm gate Archers editor Huw Kennair-Jones and Home Front editor Jessica Dromgoole meanwhile explain how they use props in their recordings. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

In this era of data journalism and interactive online content, what else can people trained in writing and broadcasting do to tell their stories and reach wider audiences? Coding is one answer. BBC data journalist Daniel Wainwright spoke to BBC News Labs engagement producer Allison Shultes, software engineer turned journalist Niko Kommenda and assistant professor in information and communication studies at University College Dublin Bahareh Heravi. "We need to have skills to be able to crunch this data and bring different datasets together to come up with stories." – Bahareh Heravi In this podcast you'll learn more about: - what exactly is meant by ‘learning to code’ and what it allows journalists to do - why newsrooms are looking for hybrid journalist-coders - what all journalists need to understand in order to work with developers in a 21st century newsroom - how journalists can get started with coding Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

Live radio requires a lot of effort at the best of times - more so when you're dealing with sensitive issues, vulnerable contributors and medical advice. We find out how the team behind BBC Radio 1's The Surgery put the show together and deal with a wide range of medical issues from callers, especially mental health problems. In this podcast you'll learn about: - specialist production and presenting skills - the processes in place to protect callers - the issues around offering advice - the duty of care towards listeners "It is really hard, I'm not going to lie. I don't think it would be fair to say it's easy to present a show of such a sensitive nature."– Gemma Cairney The BBC Academy's Jas Rao spoke to the team: presenter Gemma Cairney (above, left), resident GP and co-host Dr Radha (above, right) - formerly of Channel 4's The Sex Education Show and BBC Three's Make My Body Younger - and producer Becky Griesdale-Sherry, a former producer of the Vanessa Feltz phone-in show on BBC Radio London. Find out more about BBC Academy: Website – www.bbc.co.uk/academy Facebook – www.facebook.com/bbcacademy Twitter – www.twitter.com/bbcacademy

To get a programme on television, you first have to master the commissioning process and pitch to someone who’s in a position to give you the go-ahead. “When it works it is absolutely the best feeling in the world,” says Lisa Hazlehurst, head of Lion Television, Scotland. “When it doesn’t work you really do have to pick yourself up.” "The key to success is serendipity and something that punches your show above the noise – and that’s often the talent.”– Alan Tyler In this podcast presenter Sally Magnusson speaks to TV commissioners about: - what they’re looking for - the best way to approach them - what goes into a taster tape Producers who win a commission should enjoy the moment, warns executive editor at BBC entertainment commissioner Alan Tyler. As one producer explained to him, it’s “30 seconds of ecstasy when you get the commission, followed by the horrible realisation that you now have to make the bloody thing". The guests on this panel include Alan, Lisa, the BBC commissioning editor for daytime and early peak Jo Street, BBC commissioning editor for science and factual Craig Hunter and BBC Scotland commissioning editor Ewan Angus.

There are so many options when choosing a career, the competition is tough, and most school leavers have little practical experience. The BBC Academy's Kris Bramwell spoke to BBC new talent schemes coordinator Affie Jeerh and National Careers Service adviser Rachel Locke to hear their advice. "What I firstly advise people to do is have a real, hard think about what it is that makes them the person they are."– Affie Jeerh In this podcast you'll learn more about: - getting your CV right - how to write brilliant covering letters - what are the options for people starting their career today - transferable skills - how to stand out for the right reasons

Changing your career, whether through choice or redundancy, can be daunting. You can feel inspired and confused at the same time. But where do you start? And what do you need to consider? "The average millennial, by the time they retire, will have probably changed their job at least 14 times."– Mel Barclay In this podcast you'll learn more about: - the risks involved - why more people are making the leap - techniques to help you plan - the help available for BBC staff The BBC Academy's Jas Rao spoke to Mel Barclay, head of career transition at LHH Penna - an organisation that’s worked with the BBC over a number of years to help redeploy staff. He also chatted to Natasha Stanley, head of content for Career Shifters - a website that provides support for people changing careers - and hears from Nina Ridge, a former BBC weather presenter who became a school teacher.

The stories aren't about sound - they are created using sound. Hugh Sykes uses sound to tell evocative stories and paint pictures in the audiences’ minds. The renowned foreign correspondent plays clips of his work - from the whistling winds of Pakistan to reporting the aftermath of the Tunisia terror attack in 2016. "One of my golden rules is that a radio reporter has to wear headphones like a camera operator has to look through a viewfinder." – Hugh Sykes In this podcast, you will learn how to: - effectively tell stories on the radio - get the best sound for each story - approach difficult situations for newsgathering - tackle sensitive topics

If you work in the media you're most likely to be involved in regular creative ideas sessions (like the one above). But what form can they take - what techniques can you use to improve them? The BBC Academy's Charles Miller spoke to former BBC journalist and development producer Steve Rawling, the founder of creativity training company Now Go Create, Claire Bridges, and Facebook product designer Tanner Christensen. “It's about understanding how to create what I call a 'whole brain team'... Understanding what everyone brings to the table in relation to creativity.” – Claire Bridges In this podcast you will learn: - techniques to spark ideas - methods leaders can employ to help their whole team think more creatively - whether creativity is a skill you can develop or a gift you're born with - the benefits of creative sessions to teams across the media

BBC Academy director Joe Godwin spoke to comedian Janice Connolly and BBC Comedy executive Rebecca Papworth about taking unconventional Birmingham housewife Barbara Nice from a stand-up act to a rounded radio sitcom character. Janice developed her Barbara Nice character in the late 1990's and it led to her being spotted by Peter Kay. “As an artist it's important you have a relationship where you think you're being talked to properly - the person you're working with gets you artistically but is also very honest with you.” – Janice Connolly In this podcast, you will learn how to: - go from stand-up to sitcom - become comfortable with radio technology - develop a character - build the relationship between performer and producer Janice has a string of credits as a musician, actress, comedian and artistic director.

Radio 4’s Desert Island Discs has earned its 75 years on the air by consistently producing revealing interviews with well-known guests like US actor Tom Hanks above. We asked series producer Cathy Drysdale to explain how the show is made: - how to book big-name guests - how their lives are researched - what happens during the studio recording - how the programme is edited - what personal qualities you need to work on the series Cathy reveals the way her team works flexibly to fit in with guests' busy schedules. She also talks about how the producer and presenter Kirsty Young must trust each other explicitly in the studio. "When I’m looking through the glass and I see Tom Hanks there I am pinching myself. I allow myself five seconds of pinching and that’s it. Then you have to be completely professional.” – Cathy Drysdale Desert Island Discs airs on Sunday at 11.15. More than 2000 episodes are available on the programme website.

The way UK television script-writing teams work is changing fast. While today's fragmented digital industry offers less in-house stability, there are more opportunities with international and online broadcasters. We spoke to TV writer Sophie Petzal, BBC Writersroom development producer Abigail Gonda and Doctors script editor Nasreen Ahmed. “We're less hamstrung by the needs of channels now... I feel like now, more than ever, is the time to get into television.” –Sophie Petzal In this podcast, you will learn about: - BBC initiatives to nurture budding script-writers - The demands of working as a TV drama script-writer or script editor - Why the relationship between the script editor and writer is so important - The new challenges teams are likely to face in the coming years - The value of script-writers and script editors in the production process

Advanced tech, behind-the-scenes experiences, full games on social media - how do the latest digital innovations affect the traditional broadcast industry? And what do they mean for you if you're trying to get a job as a sports journalist or producer? "There are completely new players delivering big audiences through online only platforms... it does feel like it's a bit of a Wild West at the moment." – Professor Andy Miah. In this podcast you'll learn more about: - the new digital innovations being used across a range of sport - the future of sports consumption habits - the impact of these changes on existing broadcasters - the importance of storytelling The BBC Academy's Jas Rao speaks to Professor Andy Miah, author of ‘Sport 2.0: Transforming Sports for a Digital World’, and Stuart Rowson, younger audiences editor at BBC Sport, as well as hearing from Manchester City FC's social media manager Chris Parkes-Nield, Table Tennis England's head of commercial Mark Taffler and Hashtag UTD striker Seb Carmichael-Brown.

New internet devices that use voice are starting to appear in our homes: you speak and they answer back. So what is the likely impact of these so-called digital assistants? The BBC is looking into the possibilities while independent developers are already creating content for such devices. "It is an opportunity for those of us who are producing content because every platform that is hungry for content has to be filled.” – Flora Graham In this podcast you will learn: - how digital assistants work - what kind of content is already popular - what new ideas the BBC is developing - how the technology is likely to develop in the years ahead We also put two devices through their paces, challenging them to translate a sentence into German and to "tell me something interesting". The BBC Academy's Charles Miller speaks to Henry Cooke, senior development producer at BBC Research & Development, independent technology developer Robin Jewsbury and New Scientist digital editor Flora Graham.

The BBC’s media editor Amol Rajan asks James Ball, special correspondent at BuzzFeed News, and Mark Frankel, social media editor at BBC News, about the different meanings of 'fake news' and how journalists should respond to it.

The prospect of presenting your first ever live show on national radio can be both daunting and exciting in equal measure but how do you get to that position in the first place? Roxy Ebrahim-Khan talks to Jasmine Takhar about her journey from broadcasting on two community radio stations to launching the Friday Night Residency on national radio station Asian Network. Also, hear from producer Che Chumber who was tasked with the challenge of launching and developing a new presenter and getting them ready to broadcast live. “Something clicks when you work hard. Persistence and determination always gets you there.” – Jasmine Takhar In this podcast you will learn how to: - secure your dream job - Deal with nerves before going live on air - Build producer/presenter relationships - Use social media to launch and establish your career Jasmine presents the Friday Night Residency from 21:00 to midnight every Friday. She was previously a presenter on community radio stations Kemet FM and Westside of London. Che Chumber has worked on Strictly Come Dancing, The Gadget Show and as a social media producer at Somethin’ Else.

2016 is nearly at an end, so you know what that means - it's highlights time! Kris Bramwell, Roxy Ebrahim-Khan, Zayna Shaikh and Charles Miller, aka the BBC Academy Podcast team (left to right above), share their favourite clips from the past year to mark the end of the current series. Peaky Blinders producer Simon Maloney, Operation Gold Rush’s Dan Snow, BBC News presenter Maxine Mawhinney, journalist Vanessa Feltz, television producer Jon Plowman and Sima Kotecha, a reporter for Radio 4’s Today programme, all feature. In this podcast you will learn: - about the personal qualities Sima says you need to be a journalist - what makes good video content for social media - how good ideas come first, and the platform second, when telling stories - what Vanessa looks for in a caller to her radio phone-in - and more! Charles Miller is the editorial lead for the BBC Academy Podcast and also writes the BBC Academy blog. Roxy Ebrahim-Khan, Zayna Shaikh and Kris Bramwell are producers in the BBC Academy’s digital content team.

The challenge for Home Front's production team has always been to create a historical drama that’s true to the time yet connects with today’s audiences. In this podcast you will learn: - where to start researching the history - how to write a radio drama series - about the role of digital content - the scriptwriter’s role during a studio recording - the difference between performing for radio and TV "The thing that's at the heart of all audio storytelling for me is why are they listening? Are they still listening? Is it the best listening experience that it can be?" – Allegra Mcllroy Each 12-minute episode of the Radio 4 drama series is set exactly 100 years before the date of broadcast and tells the story of a fictional character living in the UK during World War One. The drama has been on air since 2014 and will run until 11 November 2018 – the centenary of the armistice. Sebastian Baczkiewicz - the BBC’s first writer in residence in 2000 - was the lead writer on the first season. Allegra Mcllroy is producer/director. Ciaran Bermingham is the historical researcher and known as an authority on all things World War One. Actors Laura Elphinstone and Kathryn Beaumont play Marion Wardle and Edie Chadwick.

Journalist, author and screenwriter Dan Lyons questions many of the norms of tech businesses, including the practice of building loyalty through a written ‘cultural code’.

BBC managers past and present - Simon Waldman, Sara Shepherd and Karen Hannah - discuss the dilemmas, challenges and rewards of making the step up.

Millennials, Generation Y, people born between 1980 and 2000 - turns out there’s 14 million of them in the UK. They’re tech-savvy, spending hours online: reading, listening or posting their own content. And it turns out they don’t just want cat videos. So what do they want and how can you give it to them? “Without a good idea and without good storytelling at the heart of whatever you do, regardless of the platform it’s on, it probably won’t fly.”– Max Gogarty Who better to get the answers from than people who are already doing it well. Vlogger and YouTube star Grace Victory (above) talks about what to think about when creating content on different platforms - like the similarities and differences between online and TV. Dan Murdoch made the documentaries KKK: The Fight for White Supremacy, Black Power: America’s Armed Resistance and Transsexual Teen Beauty Queen. Dan talks about the life of a freelance documentary-maker and gaining access to controversial contributors. Max Gogarty is BBC Three’s content editor, has been a producer/director with credits including ChemSex - not to mention winning a Bafta for his work on Skins online. In this podcast you will learn: - how the commissioning process works - about the relationship between content creators and commissioners - what comes first - platform or content? - tips for creating content for Generation Y

Presenter and historian Dan Snow and producer Ben Crichton discuss the vast challenges of making Operation Gold Rush.

Jessica Dromgoole, editor of Radio 4's Home Front, and Birmingham's first writer-in-residence, Caroline Horton, answer questions from aspiring playwrights on writing radio drama.

Live social video is everywhere right now. You can’t move these days on social media sites without seeing your followers 'going live' from somewhere - no matter how mundane the subject matter. Broadcasters and brands are getting involved too, with reporters pressing the live button at scenes of breaking news, including the Brussels bombing earlier this year and the Soho vigil in response to the Orlando nightclub shooting. It’s not just serious stories which are popular. Who remembers LadBible’s last lolly standing or Buzzfeed’s exploding watermelon? These days it seems nobody wants to wait for anything. These apps offer a sense of immediacy: watch the news as it happens. In this podcast we find out: What you need to think about before pressing 'go live'. - How you can use 'lives' to drive new stories and content. - Tips and advice on running a successful live broadcast with your smartphone - How best to engage with your audience during the transmission. Sarah Brown is the strategic partnership manager at Facebook. She is a writer, producer and editor with 15 years experience in international journalism and communications, specialising in digital media and with a passion for world news and current events. Andy Dangerfield a social media editor for News at Buzz Feed UK with more than 10 years experience reporting, feature writing and broadcasting. Since joining BuzzFeed News at the start of this year, Andy has been at the forefront of delivering BuzzFeed’s news and political coverage on new platforms. Mark Frankel is the social media editor for BBC News. He has a background in journalism and currently is helping to shape and deliver a 24/7 breaking news operation for the BBC across branded social media accounts.

Even media professionals need to hone their presenting skills. Whether you speak too fast, forget to breathe, get nervous, or just need to put some energy behind your words, you can do lots of simple things to improve how you sound on air. Voice and presentation coach Elspeth Morrison recently visited the BBC Academy podcast team in Birmingham to deliver a coaching session. In this fly-on-the-wall podcast, you can listen as Kris Bramwell, Zayna Shaikh, Jack Burgess, Roxy Ebrahim-Khan and Charles Miller are given the task of re-writing an article in their own style and presenting it to Elspeth as she attempts to develop their voice and help them brush up on their presenting skills. “When presenting a podcast, it should sound like you've just wondered in and are having a chat.” – Elspeth Morrison In this podcast we learn how to: - Mark our scripts ahead of recording - Find our “broadcast self” - Handle our nerves - Write a script to our voice Elspeth Morrison is a voice and presentation specialist who has worked with actors, business people and journalists for more than 15 years.

We’ve all got a smartphone and a story to tell. So technically we could all be mobile journalists, right? Turns out you might need some other bits and pieces too. In this week’s podcast we speak to two journalists who have both tried the mojo (mobile journalism) way to make completely different kinds of films. Dougal Shaw is a business reporter who creates features for BBC News. He recently put himself on what he calls a ‘mojo diet’ - meaning he only reported with his smartphone for a month. Eleanor Mannion is a programme-maker with the Irish state broadcaster RTE. Earlier this year she shot a full-length documentary, The Collectors, entirely on her smartphone, which RTE says is a first for a European broadcaster. They both share their experiences: - The pros and cons of being a mobile journalist - How it’s different to conventional newsgathering and programme-making - What bits of kit you could put in your mojo bag - Apps they’ve found to be useful for filming and editing - Mobile journalism versus traditional filming methods

When it comes to television sitcoms, producer Jon Plowman (OBE) says the reason audiences tune in is simple: “We like the characters and we want to have a good time with them.” Plowman’s CV reads like someone has cherry-picked their favourite comedies and placed them in one dream career. He’s produced The Office, Vicar of Dibley, Absolutely Fabulous, League of Gentleman and Little Britain, to name but a few. “A lot of people think scripts are about jokes,” he adds. “I think they’re about characters.” In this podcast Plowman takes us behind the scenes to provide an insight into how Jennifer Saunders worked on Absolutely Fabulous, as well as telling the story of how BBC Two gave The Office a second chance.

Radio London breakfast show host Vanessa Feltz and her producer Gemma Stevenson explain how they make three hours of live radio five days a week. In this podcast they give advice about: - What kind of callers the show wants - How callers are screened - What topics work best - The importance of regular callers - How the presenter and producer communicate during the show - How much a phone-in presenter needs to share their own life with listeners Vanessa has worked at Radio London since 2001. She also has a regular early morning show on Radio 2, and writes a newspaper column. She previously had her own talk show series on television and has appeared as a contestant on both Celebrity Big Brother and Strictly Come Dancing.

Every weekday afternoon Noreen Khan takes to the mic on the BBC Asian Network to present her award-winning “info-tainment” radio show comprising music, entertainment, sport and lots of banter. Hear from producer Anish Shaikh, assistant producer Amrit Matharu and Noreen as they discuss the challenge of making a live radio programme. They cover how to keep up with changes to the way people listen to radio, appealing to a specific target audience, as well as maintaining a positive team environment. Noreen has been presenting for more than 10 years and witnessed the many changes in radio - like the shift to on-demand listening. So how exactly can radio programmes attract new listeners? She discusses the importance of immersing herself in the latest trends, keeping up to date with what her audience want and remaining authentic. In this podcast we discus how to: - build a show like this one - be an engaging presenter - use social media to enhance your radio programme - satisfy your target audience and reach new audiences - build strong relationships within your team

BBC Academy director Joe Godwin sat down with CBBC controller Cheryl Taylor and presenters Sam & Mark to discuss children’s TV and its impact on young children. "We’ve all got to learn from a children’s audience before we all lose our audiences. What a nine-year-old is doing now is what a 25-year-old will be doing in 16 years," says Joe. Younger audiences are increasingly turning away from TV in favour of on-demand and portable viewing. The panel talk about how to reach them and the challenges of making children’s TV. Hear from Sam & Mark who both began their careers on reality talent show Pop Idol, went on to present Top of the Pops on CBBC and now boast a 13-year career presenting children’s TV primarily Copycats. In this podcast you’ll find out: What being controller of a TV channel involves How CBBC is meeting young people’s needs How Sam & Mark got started as TV presenters How CBBC fits into the new BBC strand 'Educate'

Stuart Rowson and Neil Hall from BBC Sport explain how mobile phones are key to how audiences consume content.

The technology sector is perceived as predominantly male, with many women feeling tech jobs are ‘not for them’. This lack of diversity will continue to be a problem until the stereotype is challenged. The BBC’s Women in Tech event during London Technology Week aimed to do exactly that by inviting women with tech skills to meet team leaders and hiring managers from across the BBC’s Design and Engineering division. The BBC Academy’s Keeren Flora went along to find out about the different pathways into the industry and what is being done to encourage more women to pursue technology careers. In this podcast you will find out about: pathways into different technology careers, what a software developer does, less technical roles like project manager or business analyst, how to gain experience, the challenges people working in technology may face, why a diverse workforce means a successful business, how more women can be encouraged to take up careers in technology. Graduate software developer Tamsin Green describes how her route into technology included gaining confidence in her skills. Toby Mildon, diversity lead for BBC Design and Engineering, takes us through what is being done to increase the variety of people entering the BBC. Plus, hiring managers Laura Rowley and Pius Bozumbil explain what they look for in a candidate.

Presenting or reporting for television or radio can be both exciting and terrifying in equal measure - and that’s not including how you make it on air in the first place! In this week’s podcast Charles Miller talks to three presenters with varied careers: Rajan Datar, Sarah Cruddas and Lindsey Chapman. Between them they present for TV, radio and online and cover news, travel, science, sport, natural history and the arts. You'll find out: How each of the guests got started on air How to manage a presenting or reporting career Making the best use of your contacts How to work with production teams Is it better to be a specialist or a generalist? Their tips for new starters

Learn how to tell news stories with BBC News presenter Maxine Mawhinney

How does Sima find stories? - Social media is where Sima finds something compelling which leads to a story - Talking to people on the street or at events can lead to a story idea - What makes a good story? Can you explain your story or idea to an 11 year old? - ‘Keep it simple stupid’ (KISS) - Real people with compelling stories, different feelings, personalities, problems and issues - "Be bold, be brave, don’t be scared – go up to that person you think won’t talk and ask them for that interview" – Sima Kotecha What makes a good reporter? - You have to be an expert very quickly. There is no room for getting anything wrong. Read, listen and talk to people - You need to produce your interviewees to keep them to topic. A phone conversation can help - Be bold, be brave, don’t be scared - Building relationships with contributors Be patient - Listen - You cannot just show up and start recording - Get what you need and leave, before the amount of material you gather becomes overwhelming - Package making A typical package for the Today programme is just four minutes long and ideally even shorter at three and a half - Have a dramatic clip at the beginning and a dramatic clip at the end - You have to be ruthless - Go for those bits of audio that you know people at home will go wow! A journalist’s job is to: - Be independent - Conjure up debate - Invite the audience to challenge what they have heard on the radio and make their own minds up - Show both sides to a story - Find answers to questions everybody want’s answers to A journalist’s job is NOT to: - Over complicate things - Say what is right or wrong - Be dictated to by contributors

How a BBC WM 95.6FM ‘takeover’ connected with people in Birmingham and the Black Country to create a big impact on a tight budget.In March 2016, BBC WM 95.6FM invited listeners and members of the local community to 'takeover' the station as reporters, producers and co-presenters for a whole week. In this podcast, the BBC Academy’s Roxanne Ibrahim-Khan talks to assistant editor Sharon Stokes who headed up the WM Takeover project as well as broadcast journalist Steve Hermon who worked closely with participants and two of the stations Takeover stars: M’esha Bryan and Phil George. You'll find advice on how to do something similar for your station or radio show, including: • How WM Takeover came about • How the station selected members of the community to bring into the studio • How the team trained radio novices in editorial, legal, storytelling, radio production and creativity within a very tight timeframe • How it was a great way of unearthing local talent and original local stories • What the station learnt from the project and what could be improved on • Advice on how you could do something similar at your station • If you are new to radio, on how to best seize opportunities like this when they come up Sharon talks about how they found the participants and delivered training in partnership with the BBC Academy. She also handled the rota, which was "a bit of a military operation" - swelling the ranks by more than 100 people. It meant taking into account people's busy lives as well as the creative and editorial reasons for participants being part of a particular programme. For instance, the presenters Sunny and Shay Grewal are married so Sharon and the team decided to make the most of that and "put married couples on the show with them". M'Esha and Phil worked closely with Steve who taught them about live reporting and radio package making. You'll hear clips of M'Esha reporting live on air and Phil's radio package on the local economy in Wolverhampton. The WM Takeover project provided great rewards in terms of great content, audience appreciation and making real connections with the local community. For Sharon, building on the legacy and "tapping into that local talent is something we really want to build on".

Learn how the way we think can make us better musicians and software developers. Musician and designer Lee Sankey has conducted research called Brainstruments which suggests that accomplished musicians stop playing the physical instrument and start playing the mental model of their instrument that exists in their head. Lee believes this theory of mental models doesn't just apply to musicians or singers but also software developers, designers and many other creative professions. The BBC Academy's Kris Bramwell speaks to Lee and BBC Radio 3's Claire Martin, who was involved in the research to find out more. Software developer Ashley Taylor also tells us whether he agrees with Lee and tells us how he works when coding a website.

A mentor can help you make the most of career opportunities and aid your personal development. Today programme studio director Rachel Wheeley was able to see a clearer path to working in another area of radio with help from Caroline Raphael, then a commissioner at Radio 4. In this podcast they emphasise that it’s the mentee who needs to put in the hard work. “It’s not an easy option. You do have to work quite hard. It’s not all tea and sympathy,” says Caroline. Mentoring is not a quick fix. It’s a chance to stand back and reassess your career, in search of the best direction to take. Caroline, who runs independent radio production company Dora Productions and is editorial director of Penguin Random House Audio, describes it as “letting you see a bird’s-eye view - how the organisation fits together… that’s quite difficult to do unless you have some support”. Media and leadership trainer Natasha Maw, a partner at Quattrain and founding member of Sound Women, explains how to find a mentor to advise on everything from how to reach your goals to building confidence in your abilities. Rachel is also a producer at BBC Radio Comedy and is to launch the science comedy podcast Level Up Human very soon.

The Shelbys are back! The third series of the hit show, Peaky Blinders, has returned to our screens with a new director, Tim Mielants. Tim is a huge “fan boy” of the show says series producer Simon Maloney, which is something that helped the pair bond easily and build an invaluable producer/director relationship. In this week’s podcast the BBC Academy’s Roxy Ebrahim-Khan speaks to Simon as well as the show’s BAFTA award-winning director of photography Laurie Rose. Simon says he’s got “peaky blood”, meaning he’s worked on the previous series (as a first assistant director specifically); he tells us how he found producing the show for the first time and how he dealt with the head shift. Simon says as a producer “you manage the shoot from a distance” so work closely with a lot of people, including all the heads of departments, secretaries, runners, but also people outside of the production team. So forging great working relationships and having excellent communication skills are paramount. Whereas as a first assistant director, you manage the shoot from the floor, constantly talking to a lot of the production crew, so some of the skills are transferrable and made his first time producing a bit easier. What’s a DoP, you might ask? That’s the first thing Laurie explains in the second interview of the podcast, detailing exactly what his role is and how it fits into the production. It can be a challenge coming onto a show a few series down the line, especially one like Peaky when it already has an established and very distinctive look. Laurie discusses how he put his stamp on it. We cover Laurie’s route to becoming a DoP and some of his other work, including London Spy (which won him a BAFTA), Friday Night Dinner, Him & Her and The Job Lot. And what if you fancy doing Laurie’s job yourself? Laurie dishes out some great advice and tips.

Doctors series producer and writer Peter Lloyd had always wanted to incorporate Shakespeare into the show. With 2016 being the 400th anniversary of the death of the great bard and the BBC celebrating in grand style with its six-month Shakespeare Festival, it seemed the perfect opportunity. In this podcast Joe Godwin, director of the BBC Academy and BBC Birmingham, hears why Peter decided to avoid the well-trodden path of Shakespeare's plays and use his sonnets for a week of episodes. They talk about how creative risks like this can be very popular with audiences. The two of them also discuss the practicalities writing an episode using a sonnet for inspiration and incorporating a reading into each one. Peter also talks about how he worked with the BBC iWonder team to produce a guide to the sonnets, as well as how the cast leapt at the chance to take part with a straight-to-camera reading of a sonnet. Moving away from Shakespeare, Peter and Joe talk about diversity on the show and in drama production in general - both in casting and behind the camera. They then go on to discuss a week of Doctors programmes highlighting homelessness that were inspired by the story of a homeless man Peter met on a night out in Birmingham. Joe also finds out why Doctors is a continuing drama series, and not a soap, and the difference This podcast, edited by Ben Toone, is a recording of a masterclass at BBC Birmingham on 22 April 2016.

National Theatre Live has reached more than 5 million cinema-goers in 2,000 venues across the world. They have arguably had a role in democratising theatre, by taking star-studded, sell-out productions from London’s West End and from New York’s Broadway to the far edges of the country and beyond. Some of their best received screenings include War Horse, The Curious Incident of the Dog in the Night-Time and, their most recent success, Hamlet starring Benedict Cumberbatch; which has seen by 500,000 people, so far, in more than 50 countries.

BBC Two’s Later… with Jools is returning for its 48th series. That’s right. The show is in its 24th year. How has it survived when other series such as Top of the Pops and CD:UK have become part of music history? Executive producer Alison Howe says it’s down to the programme’s simplicity in “putting together a show that offers a rich and varied mix of live music being performed in one room in one go”. In one show you can see unknown acts making their debut next to more established artists, as Adele did when she played in 2011 alongside Björk and Paul McCartney. Zoe Nicholson, the show’s production coordinator, is responsible for getting everyone down to the Maidstone Studios in Kent every week. There are sound checks on Mondays and camera rehearsals on Tuesdays before the evening recording and live transmission. Like working on any live TV show, there are quite a few challenges, but the main one Zoe says is “making sure everyone sticks to the schedule!” For Zoe, a music fan herself, there’s a special privilege being in a small studio whilst world-renowned musicians perform together.

Midlands Today, presented by Mary Rhodes and Nick Owen, is a BBC regional TV programme covering areas including Birmingham, Coventry and the Black Country. The team put out four daily bulletins and in this podcast we find out how. We speak to Hilary McConnell, one of the channel’s two senior producers, Giles Latcham, a senior journalist and reporter, and Sarah Falkland, presenter and reporter (pictured above). Whether you’re beginning your career or already established, finding stories is always the starting point for any journalist. Hilary advises that it is easy to fall into covering crime stories but striking a balance of “light and shade” - lighter stories as well as the the more serious ones - is important for the programme as well as the audience. Finding the stories is one thing, going out there and getting them is another. Giles has worked in national and regional news and says, regardless of whether you’re covering the Zika virus or a fire at a factory in the Black Country, the challenge is the same: finding the best way to tell the story. But it is always “an honour and a privilege” to meet people and hear their stories. Sarah is a reporter and a presenter, and this is another advantage or working in regional news: there are plenty of opportunities to gain experience. Giles says there’s a “great sense of being part of a team” no matter whether you’re a cameraman, reporter, presenter or a producer. We couldn’t not talk about social media. It’s changed not only how the audience consume news but how those in news work. It’s important to remember that social media is a two-way street and one of the great things about it is that it allows the audience to get involved. Weather Watchers is a prime example: anyone can send in pictures and give the weather where they are, and it’s used on regional and national news.

Our very own drone enthusiast Charles Miller discovers that there's plenty to think about when filming with unmanned aircraft systems (UAS), or drones as they are better known. In this podcast, Charles is joined by experienced drone pilot Mya Padget and BBC series producer Graham Cooper, who uses drones for his documentaries. We find out why you may want to use a drone for your shoot and what you need to do before you can even get it into the air. We take questions from you, including how badly drones are affected by the weather, and cover the training you'll need, CAA (Civil Aviation Authority) accreditation, legal implications and health and safety considerations, including the need to recce your site. Mya talks about "valuable consideration". That's the legal term that makes you a commercial operator as opposed to an amateur. As Mya says "working commercially as a drone operator doesn't just mean working on a BBC documentary. If you shoot drone footage and monetise it on YouTube, or film footage for selling a friend's house and they later buy you a drink, that may count as valuable consideration". Will getting shots from a drone add to your story or not? We look at the editorial issues you'll need to think about before using a drone. As Graham says, the story is "first and foremost, then how will you get the shots for the story. Drones are just another tool to do this". And finally, if you're keen on flying and filming with drones, Mya suggests you go out and buy an amateur micro-drone as "if you can fly that, you can fly anything". Graham suggests you need to think about what the shots you are after and then find a good drone flying team. And Mya tells us how you can get drone shots in a built up area such as London without having to fly it at all… Mya Padget is a licensed commercial drone operator and co-director of Stronholt Film Productions. Her aerial film work has ranged from being an aerial director and camera and gimbal operator for a supermarket advert to filming floods in Oxfordshire as a drone pilot for BBC South Today. Graham Cooper is a series producer and director for the BBC who has used drones in his productions, including Special Forces: Ultimate Hell Week, David Dimbleby's Britain and the Sea and Royal Wives at War.

An in depth conversation with the writer behind Line of Duty, Bodies and Critical. In this interview, recorded by BBC Writersroom for The BBC Academy podcast, Henry Swindell, senior script executive for BBC Northern Ireland, talks to Jed about his career and how he creates his stories and characters.

We talk to apprentice turned journalist Lauren Page and find out about the BBC’s apprenticeship schemes from their manager Simon Broad

First came BAFTA winning Educating Yorkshire, then Educating Essex. So why not adapt their documentary skills to filming children, thought production company Twofour That’s how the returning CBBC series Our School was born. The first series was set in Conyers School in Teeside. The current series shows life in Greenwood Academy in Castle Vale, Birmingham. Kez Margrie, CBBC’s executive producer, says she hopes the series will help make the transition from primary school to “big” school easier. That’s not to say that it’s all smiles and laughter during the series. Some storylines show some of the children finding the jump to secondary school hard, with one boy, Isaac, having sessions with the school’s youth worker, Sean. Executive producer Richard Marson says they thought carefully before deciding what to show from their conversations. And what about having cameras and the production team all over the school? And then having the results shown on television? Performing arts teacher and series narrator Trevor Evans advises the school thought long and hard about all aspects of what doing the series could bring - positive and negative. Our School doesn’t just see the children growing up, but also the production team. One of the best things, Richard says, was being able to take some of the team from the first series onto the second, with researchers moving to assistant producer roles and even producing episodes. *This podcast was recorded in a public space and therefore some audio is not to our usual standards.*

This wouldn’t happen in any other medium: an elderly Auschwitz survivor called LBC radio to tell the presenter, Nick Ferrari, about her experiences in the camp as a child. She then told Ferrari she hadn’t even been able to talk about Auschwitz to some members of her own family. Ferrari told the story on a Media Society panel about radio. Along with presenters Paul Gambaccini (above) and Sue MacGregor, the panel was chaired by the radio critic Gillian Reynolds. They enthused about the unique intimacy of radio, its flexibility as a medium, and its ability to present both human emotion and intellectual argument more vividly than television, print or online media. Two BBC executives on the panel, Mary Hockaday and Jonathan Wall, encouraged people wanting to get into radio to stick to their ambitions and make use of the new online opportunities in audio, such as podcasting, to learn their skills and build an audience. Hockaday also advised applicants to listen to a lot of radio. For Gambaccini, the key to getting on in presenting is “self-knowledge” – the ability to understand where you’ll fit in.

The broadcasting industry is moving ever closer to a “gig-economy”, where more people take on short terms contracts rather than stay in a full time job. In audio production, freelancing is not as common as in television, but it is predicted to grow. In this podcast we hear from two award-winning freelance producers. Kellie Redmond works in BBC radio and Matt Hill specialises in podcast production. Although working in separate areas of audio production, both have found innovative ways to create their own projects and ideas and be their own boss. They let us into the secrets of becoming successful freelancer, including the need to be persistent and learning to make contacts. They explain how they formed portfolio careers, find work and maintain a work-life balance. We also examine the world of podcasting with media journalist Abigail Edge and get an industry view of how podcasts make money. Podcasts have a bigger audience than ever, partly thanks to the popularity of investigative crime show Serial, which has had more than five million downloads since launching in 2014. What has this meant for the industry? Matt Hill is the award-winning independent producer behind podcasts Spark - True Stories, The Media Podcast with Olly Mann and For F1's Sake He is a regular producer of programmes for the Guardian, Private Eye and BAFTA, and contributes to The Allusionist for Radiotopia. Follow him @virtualmatthill. Kellie Redmond is an award-winning freelance radio producer, named ‘Best Music Entertainment Producer’ in both 2014 and 2015 at the Radio Production Awards for her work across BBC Radio 2 and BBC 6 Music. She won a 2014 Radio Academy Award for ‘Best Creative Innovation’ for social media-driven show Now Playing @6Music. Follow her @KellieRedmond. Abigail Edge is a journalist who specialises in the media. She is the U.S. community and editorial manager at visual-storytelling platform Shorthand and writes for journalism.co.uk, TheMediaBriefing and The Next Web. She produced podcasts for Journalism.co.uk, when she was technology editor.

With one billion podcast downloads from iTunes alone in 2014, podcasts have never been so popular. The growth in audience numbers has been in part attributed to the popularity of investigative crime show Serial; which has had more than five million downloads since launching in 2014. What has this meant for the industry? Keeren Flora talks podcasting with media journalist Abigail Edge, to find out how podcast producers are finding innovative ways to fund their work. Abigail gives her take on future developments in the industry and offers some top tips for budding producers. Abigail Edge is a journalist who specialises in the media. She is the U.S. community and editorial manager at visual-storytelling platform Shorthand and writes for journalism.co.uk, TheMediaBriefing and The Next Web. She produced podcasts for Journalism.co.uk, when she was technology editor.

Ed Barlow discusses the making of an observational documentary series, The Best Bottoms in the Land for BBC English Regions (Image copyright RSC).

Behind the voice of the DJ, radio production is a team effort. This week we find out about what goes on behind the scenes at BBC Radio 1Xtra in a panel discussion from the 1Xtra Live event in Leeds. 1Xtra breakfast DJ Yasmin Evans spoke to her 1Xtra colleagues: team assistant Harrison Stock, assistant content producer Keturah Cummings, producer Alex Lawless and head of programmes Rhys Hughes. They each talk about their individual routes to 1Xtra and their day-to-day responsibilities. And they give advice for anyone trying to get into radio. According to Rhys, there's never been a better time for radio. But if you want to get involved, make sure you have the skills you need – which include shooting and editing both audio and video, coming up with ideas and using social media.

The BBC Academy Podcast, presented by Ben Toone, talks to three graduates of the BBC’s Local Apprentice Scheme, Yasmin Ojo, Jayde Pearson and Talisha Johnson, who at the time of recording were preparing to graduate with a National Council for the Training of Journalists (NCTJ) accredited qualification. Each Local Apprentice was placed at one of 45 local radio stations across the UK, where they gained experience of working in a busy newsroom and producing stories for their local audience. Over the fifteen month period of their apprenticeship they were given training in different areas of journalism including shorthand, story finding and production techniques.

This is the second part of our 4K podcast with Philippa Law, technology engagement officer for BBC Research and Development (R&D). In our last podcast, 4K and UHD: Why does it matter?, we broke down what 4K and UHD mean for your production. This week we talk more about the practical aspect of filming in UHD - the kit you'll need, data storage and the production workflow. Philippa speaks to Mark Harrison, director of the BBC Technology Futures Group, John Heraty, a broadcast trainer within the BBC Academy, and John Kent, head of digital at Lambert Productions. Some productions have already started to film in 4K for television, including natural history series like Shark and Life Story, drama such as BBC One's The Coroner, rugby and football matches through BT Sport, and golf through Sky. Although, at present 4K isn't broadcast in the UK. John Kent talks about the process of filming the 10-part series Secrets of the Brain for a new channel showing content in 4K in the Netherlands. John talks not only about the costs of the cameras, which can seem relatively cheap in production terms, but the cost of additional equipment, such as lenses and data storage, which can skyrocket and really put a hole in your production budget. Also, the current process of transferring data is very costly in terms of money, space and time. The panel talk about the kind of programmes that have been shot in UHD, including series with high legacy values such as natural history and science series. UHD delivers such high resolution that an editor can zoom in without compromising quality if the final film is created for HD viewing. Our experts discuss 4K’s popularity, where it’s going in the future and how programme makers will have to change their attitudes to projects and technical advances. Plus, should we really be looking ahead to 8K?

It seems that the 4K and ultra-high definition revolution is just around the corner. But what will this mean for broadcasting? And is adopting 4K for your production really necessary? In the first of two podcasts, the technology engagement officer for BBC Research and Development Philippa Law speaks to Mark Harrison, director of the BBC Technology Futures Group, John Heraty, a broadcast technology trainer with the BBC Academy and John Kent, head of digital at Lambert productions. Ultra HD and its close sibling 4K has eight times the resolution of SD (standard definition) and four times HD. With 3840 x 2160 pixels, UHD’s level of quality makes it very difficult for the human eye to actually make out pixels on close inspection. This development gives broadcast images a definition that comes extremely close to reality. UHD will bring a broader range of colours. Some colours, particularly sienna and red, have tones within their spectrum that simply do not show up on current HD screens. Some productions have already started to film in 4K for television, including natural history series like Shark and Life Story, drama such as BBC One's The Coroner, rugby and football matches through BT Sport and golf through Sky. Although at present 4K isn't broadcast in the UK. The panel answer questions on how these developments feed through to consumers, from UHD televisions to 4K on smartphones, and John Heraty talks about the differences between UHD and 4K. John Kent gives an overview of how filming in 4K affects the television production process, going into more detail in the second of our podcasts.

The BBC Academy's Najiba Kasraee is joined by BBC Swahili service editor and presenter Zuhura Yunus, BBC Russian's Renata Tairbekova and Mahjooba Nowrouzi from the BBC Afghan stream. They talk candidly about the challenges of being a woman in the newsroom and offer advice on how to progress while maintaining a work/life balance. These four journalists, all based at the World Service's London headquarters, talk about the challenges and advantages of being a female journalist in their home countries as well as in the UK. They offer advice on networking, with Zuhura and Renata challenging perceptions that men make the best networkers. You'll need confidence. As Renata says, it's something every journalist should have: "If you can't go out on the street and do a vox pop, you're probably not going to be a journalist." Renata and Mahjooba talk about how being a parent can affect your career, from taking time out for maternity leave to needing to leave work on time to pick up children from childcare. They talk about the need for a working mum to be organised, have a great support network and be resourceful when working around the inevitable childhood illnesses. They each offer tips for women wanting to develop a career in journalism. Advice includes taking on board criticism and building on your mistakes to keeping your contacts and network organised, for your work and home life.

The year is nearly over, but not before the BBC Academy Podcast review of the year! We've had another fantastic year catching up with the likes of award-winning writer Mike Bartlett on his hit TV series Doctor Foster, Sarah Solemani on going from acting in comedies to writing them, and radio presenter Noreen Khan on getting more black, Asian and minority ethnic (BAME) talent on air. We’ve also had a great 12 months chatting to unforgettable on-screen talent including Chris Evans, Christian O'Connell and Emma Barnett at the Radio Festival 2015. We've spoken with some rising stars in their field like Destiny Ekaragha and Kascion Franklin. Destiny gave us an amazing insight into what is was like to make her TV directorial debut in Danny and the Human Zoo, the BBC’s one-off fictionalised special on Sir Lenny Henry’s childhood years. Here's to bigger and better podcasts in 2016!

Downloadable to your device, ebooks can contain text, images, video, audio and other multimedia, creating many exciting storytelling opportunities for content producers. D-Day’s Last Heroes, A Guide to Your Cat and The Road to Milk Wood are just a few of the ebooks based on BBC TV programmes. We find out about the practical aspects involved in creating interactive ebooks with Anya Saunders and Pasquale Tropea, part of the team working on these BBC ebooks, as well as Hazel Marshall, a digital storytelling expert and trainer. The panel talk about why you might want to create an ebook, how to make best use of great material that doesn’t make the final cut for the programme, reaching new audiences, and leaving a digital legacy long after the programme has been broadcast. They cover some of the editorial, technical, design and compatibility considerations involved and how the storytelling process differs to that for a television programme.

Radio 1 Newsbeat presenter Tina Daheley talks to sports presenter Manish Bhasin, the commentator and retired England footballer Lucy Ward, BBC Sport senior producer Pete Andrews and Julie-Pia Aberdein, digital executive producer for Manchester United Football Club. Recorded at the 1Xtra sessions, part of 1Xtra live, in Bradford on 2 October 2015, the panel talk about how they worked their way into the industry and turned their passion into a career. Manish's break came at BBC Radio Leicester; Lucy through her time as a professional player; Julie's through a sideways move from television to digital media for one of the world's most famous football clubs. They each talk about their role: Pete on how he directs the action on match days, sometimes controlling up to 23 cameras while ensuring they never miss a goal. Manish talks about presenting football news for stations around the world, and Lucy about learning how to keep talking while someone is having a word in your ear-piece! The panel give their advice for those wanting to break into the highly competitive world of sports broadcasting and digital media. They cover how to get experience, deal with rejection and build your confidence. Tips include having a much wider interest in sport than just football, having ideas to bring to an interview and having the perseverance, and drive to keep on going.

Radio always gets a bit of a ribbing compared to television (it’s only a bit of audio, where are all the pictures? etc). But actually, let’s be honest, we all love radio. Millions tune in every morning to breakfast shows, drive-time programmes, broadcasts in the middle of the day… so we obviously haven't fallen out of love with it. Radio is not dying this death that someone always predicts. Presenter Emma Barnett hits the nail on the head when she says: “We, the British people, love it so much - hence we have ‘a gazillion stations’ and even says we’re “tribal” over it, and I agree. Radio 1, Kiss, Capital FM, Absolute Radio, Heart Radio, Magic, Smooth, The Hits… there’s a station for everyone and everybody has their camp. We were at the BBC Radio Academy’s Radio Festival not too long ago and spoke to three big players in the radio game: BBC Radio 2 breakfast presenter Chris Evans, BBC Radio 5 live’s Emma Barnett and Absolute Radio’s Christian O’Connell. Hear what they had to say about the medium that continues to defy the odds!

Executive producer Will Trotter, producer Sandra MacIver, director Matt Carter and Jon Boyce, who provided technical expertise, join the director of BBC Birmingham and the BBC Academy, Joe Godwin, for this masterclass on BBC One's The Coroner, recorded on 12 November 2015. The Coroner is produced by Birmingham's drama village - producer of Doctors, WPC 56 and the worldwide successes Father Brown and Land Girls. The 10-part series follows the coroner, played by Claire Goose, as she investigates unresolved deaths in the fictional seaside town of Whitehaven. This while having to contend with working with her ex and dealing with a troublesome teenage daughter. In this podcast you'll hear how the production has been a trailblazer for BBC drama production by being the first to film using 4k resolution cameras. Executive producer Will Trotter talks about how the premise of the drama was thought up and working in tandem with BBC daytime commissioning and with co-funder BBC Worldwide. Sandra and Matt talk about how to balance taste and decency in a daytime drama featuring dead bodies. They also give tips on filming on location, working with the locals and how to stretch a TV drama budget to achieve high filmic production values.

In a time when it seems young people are only in the news for the wrong reasons - stabbings, cyber bullying and binge drinking - here is something positive that will give you an insight into the thoughts of young people these days. And all from the horse’s mouth too, as the saying goes. Podium.me is a platform set up by Camilla Byk and Annabel Merrett where all the work is done by young people aged 25 and under. It was set up in the wake of the London riots in 2011. Camilla spoke to some teenagers who were part of the cleaning crew and one 15-year-old told her: “No-one cares about what we think; no-one really listens to us.” So a year later Podium.me was born and it is exactly that: somewhere they can get their voices listened to. And it’s not just young people listening in either. This is the place for you if you want to know what young people are thinking about and what issues affect them. It is a relatively new platform having only been set up in 2012, but has already made waves, having won a bronze award in the creative innovation category at the Radio Academy Awards 2014. Anyone can join the ‘Podium family’ and you don’t need to have any broadcasting experience. They’ll give you all the support and help you need and, who knows, your first piece of work for them might be retweeted more than 2.8 million times, like Stephen Matthew's piece on being a young Syrian refugee living in the UK. Hear from three members of the ‘Podium family’ in this podcast - Imogen Eason, Michaela Grant and Jamie Sommerville - on how they got involved and what each of their roles entail.

Amy Kean is a media futurologist and the head of Havas Media. Media futurologist, you say? Yes it is a real thing. What does she actually do though? Amy looks at current data and trends and from those she draws conclusions about how we should behave in the future. Technology is really changing how we live our daily lives and the thing that has changed it the most in the past few years is without a doubt, the smartphone. We as consumers are increasingly demanding. We don’t want to just watch music videos, we want to BE in them. Cue UK-based recording artist Squarepusher’s answer to this. He released a virtual reality (VR) video to mark the release of a song that can be experienced with a VR headset, mobiles, tablets and YouTube’s new 360º platform. So by using something like Google cardboard and your smartphone or tablet you can feel like you’re IN the video. And no, it doesn’t cost an arm and a leg. We are no longer happy with experiencing things in one dimension. We want more. We want multi-sensory experiences, whether that be fireworks you can taste (London’s 2014 New Year’s Eve fireworks) or a fairground ride that each person can control with their mind to get a completely different experience depending on their reactions to it (Neurosis). In this session recorded at The Radio Academy’s Radio Festival, Amy talks about the many ways radio might use these technological advances and asks how it might look in the future.

J. R. Little is the head of global innovations at Carat Productions, which is part of Dentsu Aegis Network, the global network innovating the way brands are built. His job “is to help companies innovate, stand out, disrupt and to deflect disruption”. What does this even mean and why would we want to disrupt a company’s brand? "Fall in love with advertisers, fall in love with experiences and fall in love with technology."– J.R. Little There has been a lot of change in the past few years, whether that is how we consume TV or radio, drive our cars, shop and use our phones. J. R. says we need to use that information if we want to grow our brands in radio, even if it means doing things that push us out of our comfort zones. And THAT might mean using Snapchat! In this talk given at the Radio Festival 2015, you are encouraged to “disrupt or be disrupted”, embrace new technology, collaborate with other companies, take your content onto different platforms and take a more creative approach to branding.

Danny and the Human Zoo is a fictionalised account of Sir Lenny Henry’s life as a teenager in 1970s Dudley. The drama centres on Danny Fearon, a talented impressionist played by young actor Kascion Franklin and his large working class Jamaican family, with Cecilia Noble as Danny’s mother and Lenny Henry as Danny’s father, Samson. It was also another 'first' as it was the director Destiny Ekaragha’s first TV project. Destiny had previously made short films called The Park and Tight Jeans, which was officially selected by the 2008 Times BFI 52nd London Film Festival. It was also voted the best short film shown at the London Film Festival by the Observer newspaper. Kascion and Destiny talk openly about the casting process, building-up trust between the cast members, the relationship between the entire production team, filming on location in Birmingham, obtaining funding for projects and the challenges faced on this project and others. Both also share tips for those wanting to get into the acting and directing scenes. Don't forget you can get involved with discussions about any of our podcasts using #academycast.

Award-winning writer and director Mike Bartlett didn’t always write: he dabbled in acting at university and afterwards wanted to go into directing theatre but would always “flunk the interviews”. Bad times. He began to write for a few reasons - one of which was boredom - and suddenly found his job interviews started to go well. Good times. The reason? “Because I didn’t have to sell myself - I just put the script on the table. It was all about the work, not me.” His latest show on BBC One was the massively popular Doctor Foster starring Suranne Jones and Bertie Carvel. The series was the most watched new BBC TV drama so far this year with nearly 8 million people tuning into the finale. Writing for TV didn’t come until quite a few years into his career, but that wasn’t a conscious decision, he says. Mike has written for quite a few mediums. He’s adapted theatre for radio (Not Talking), turned radio plays into stage plays (Contractions) and written for TV (ITV’s The Town and BBC One’s Doctor Foster). Is his approach the same for all those mediums? What are the main differences he’s found? In this podcast Mike talks to Henry Swindell of BBC Writersroom about the importance of planning before writing absolutely anything. He discusses the differences when writing for different mediums, talks about how he came to write for TV, and shares his techniques for getting into the psyche for writing.

The Outcast has been described as a deeply romantic, uncomfortably honest coming-of-age story set in booming post-war Britain. A best-selling novel by Sadie Jones, the book has been adapted by Sadie for BBC One with Iain Softley directing the two-parter. Iain Softley is probably better known as a director of Hollywood blockbusters such as Hackers, The Wings of the Dove, K-Pax and Inkheart. So how did he come to directing an adaptation for TV? Iain speaks to Frankie Ward about how he felt so connected to the story he was compelled to direct it. He talks about the different methods he uses when working with actors including George Mackay, who plays the lead character Lewis. The importance of sound design and music to telling the story is also discussed. Composer Ed Shearmur worked on the score, having worked with Iain on The Wings of the Dove. Iain's early years as a director are explored as he talks about making documentaries and how reading English at university enabled him to become an accomplished storyteller.

Beth Pattinson, development executive at BBC Films talks to Sadie Jones, screenwriter and novelist, ahead of the debut of her two-part drama, The Outcast, on BBC One. Sadie details her journey as an unproduced screenwriter to novelist and back. The Outcast began as a feature film script but when producers were unable to make it the way they wanted to Sadie turned the story into a novel. Within a year, the book was published to wide critical acclaim and won the Costa First Novel Award. It was also a finalist for the prestigious Orange Prize, as well as a finalist for the Los Angeles Times Book Prize for First Fiction. When Christine Langan, Head of BBC Films, read the novel, she knew it had to be brought to the screen. Blueprint Pictures came on board to develop the novel with BBC Films as a feature film, but it proved too difficult to adapt the story into a 120 minute feature. BBC Drama then came on board and the story was split into a two-part drama for television. Beth and Sadie recount the development process, structuring the story across mediums, defying the odds and never giving up. The Outcast stars George Mackay, Greg Wise, Jessica Barden, Hattie Morahan, and Jessica Brown Findlay in what has been decribed as a deeply romantic, uncomfortably honest coming-of-age story set in booming post-war Britain.

Is life across the pond different for writers and producers compared to over here? Steve Lightfoot is an executive producer and writer who has worked on BBC One's Casualty and the Emmy-award winning House of Saddam. He is currently showrunner on Hannibal on the American network channel NBC. Having made the leap from the UK to the USA, he shares his experiences with BBC Writersoom's Henry Swindell.

In this podcast we speak to presenters and producers alike including Capital Xtra's Marvin Humes, Radio 1Xtra's Yasmin Evans, Radio 1's Greg James and award-winning BBC Three Counties presenter Iain Lee on what radio producers do and how having a great the producer/presenter relationship is beneficial to both roles. The producer/presenter relationship is such a vital aspect to radio that Greg James says he wouldn't be the presenter he is today without his producers. Both parties have to trust, support and give each other the confidence to grow. But how do you go about building the relationship to get to that stage? We find out in this podcast.

Bloodthirsty hunters or social and complex creatures? Natural History Unit producer Simon Blakeney talks to us about the making of the landmark series Shark, a new three part trilogy by the BBC's Natural History Unit.

What place do traditional broadcasters have in this ever-evolving online world? Is there really one law for broadcasters like the BBC and another for nameless individuals? Gathered around the table to discuss social media, broadcasting and the law are Anna Doble, online editor from BBC Newsbeat, Mark Frankel, assistant editor from BBC Social News, and producer Tim Johns from BBC Radio 2's Jeremy Vine Show.

In this podcast, we meet some of the latest intake from the BBC's Radio Journalism Apprenticeship scheme - Ben Mitchell, Daniel Parker, Kathryn Twelvetree and Thomas Harding Assinder. They take a fresh look at one of the new ways to get on the media career ladder.

Expert Voices is a nationwide BBC initiative which aims to get more Black, Asian and minority ethnic (BAME) experts from a wide range of fields on air and on screen. The all-day training events give delegates the chance to meet senior industry figures, share their own knowledge and expertise with other like-minded people and to learn skills that could help them work on air as contributors or presenters. We joined the event in Birmingham to talk to delegates about their experiences as they learnt to take part in television interviews, radio panel discussions and also recording pieces to camera. Most importantly they received feedback from media experts including keynote speaker BBC Asian Network DJ Noreen Khan, former Blue Peter presenter Andy Akinwolere and journalist and broadcaster Marvarine Cole.

We went to the RTS Futures Careers Event – the first of its kind – to speak to broadcasters such as BBC, ITV and Channel 4, as well as organisations such as the Mama Youth Project and Creative Access, to find out exactly what schemes they had on offer. You'll also hear from apprentices past and present as they talk about their experiences of applying, what they did during the scheme and what they've done afterwards. So whether you want to get into development, become a journalist or want to do the artwork for productions like Channel 4’s Indian Summers, there’s a scheme for you!

In this podcast we hear from Pat Campbell, production designer on the hugely successful BBC drama Wolf Hall starring Mark Rylance and Damien Lewis. Pat outlines the role of the production designer on set and tells us about the starting process for any project - scouting for locations. She also talks about the scale of the art department with its many different roles, discusses the relationship of production designer with other members of the production team and also reveals how she got into this field.

In this podcast we hear from costume designer Joanna Eatwell, lead designer on the landmark BBC adaptation Wolf Hall starring Mark Rylance and Damien Lewis. She tells us how she "fell into" costume design initially training in theatre and moving on to work in music videos - but now with nearly thirty years experience under her belt, she describes it as "the best job in the world." She talks to us about the research process for each project, outlines the range of roles within the costume team, and offers her advice for anyone interested in getting into the industry. Joanna's wide body of work ranges from films like Hawking starring Benedict Cumberbatch, and Sex,Drugs & Rock & Roll, the biography of Ian Dury. She was nominated for a BAFTA and a Royal Television Society Award for her work on the film Eric & Ernie, and she has also worked on TV series like Channel 4's The Mill and BBC One's The Paradise.

From ingesting to cutting to colour correcting, editing can be one of the most time consuming and costly processes of programme making. In this podcast, we go back to basics with editor Garry Paton, and discuss what editing is, who’s involved, why it matters to your production and how to overcome the challenges to make the editing process a little smoother.

How easy is it to go from acting to writing drama or comedy? Sarah Solemani, star of Bad Education and Him and Her, talks about her writing for BBC One's The Secrets and beyond.

What do the BBC production trainees get up to during their placements? And once the scheme is finished where can you go next?Back in March 2014 we talked to some of the latest intake of BBC trainees as they started their first placements at the BBC. Now the trainees are trainees no more and are fully fledged assistant producers and researchers working across the BBC in radio, TV and online. We talk to Amanda Litherland, Harry Pick, Emily Spooner and Melanie Brown to find out what they've been up to, where they are now, what they have learnt.

It’s been another great year on the CoP Show. We’ve spoken to a wide range of people in the broadcast industry, all keen to share their tips and TV, radio and online know-how. We heard from Radio 1’s Greg James, Desert Island Discs presenter Kirsty Young, comedy genius Richard Curtis, Bob Shennan, head of BBC Radio 2, 6 Music and The Asian Network, Tania Alexander, creator and producer of Channel 4’s Gogglebox and Steven Knight and Colm McCarthy, the writer and director of BBC’s massive hit Peaky Blinders. We also caught up with some of the rising stars in TV, radio and online broadcast who shared their inspiration and advice for those who want to follow in their footsteps.

Billed as a speed dating event for radio, delegates from all over the UK were given 15 minutes to meet with industry experts such as Mike Walsh from Xfm, Paul Blakeley from 5live and Ric Blaxill from Bauer Media Group. Sessions included ‘Freelancing in radio’, ‘How do I get on air?’ and ‘Station branding’. We spoke to a few of the delegates, including students looking for advice on what their next steps should be, and also delegates working on hospital and student radio looking for practical advice for their shows. We also spoke to some of the industry insiders including Capital FM producer Greg Hughes and Jazz FM’s Chris Gilvear, one of the Radio Academy’s 30 under 30, to hear what they thought of the day and what advice they gave to the young radio enthusiasts.

Have you ever wondered how some of your favourite presenters got into radio? Greg James, Yasmin Evans, Marvin Humes and Sam Hall spill the beans on their paths into presenting.

‘Great storytelling is about complexity of character and simplicity of plot.’ Jimmy McGovern, writer of Cracker, Priest, Accused, The Street and Dockers, joins BBC Writersroom to explore the craft of writing and bringing complexity and richness to characters through simple narratives.

Listeners please be aware there are some adult themes are covered in this podcast. Multi award winning presenter Nihal takes us behind the scenes of his phone in radio show for The BBC Asian Network. He shares his views on how broadcast media deals with issues of ethnicity and talks about the editorial challenges of putting together one of the most controversial phone in shows aired on any of the BBC networks, and explains the preparation required to get the tone right. This is a special edition of the CoP Show was recorded at the Radio Academy's Radio Festival 2014.

The BRITs 2014 became the most tweeted about non-sporting event in UK TV history. The awards were streamed live to a world-wide audience on YouTube for the very first time, generating huge audience interaction outside of the UK during the broadcast itself and 7.5m views of the YouTube content in the week following the show – more than twice the figure from the previous year. In this session recorded at the Radio Academy's Radio Festival 2014, Michelle Feuerlicht, executive producer of digital at Somethin’ Else, Giuseppe De Cristofano, head of digital at BPI, and YouTube fashion sensation Fleur De Force talk to Steve Ackerman about the secrets behind this huge success.

From William Blake to Charles Dickens, authors have written or talked about experiencing auditory verbal hallucinations when writing fiction or hearing voices that others cannot hear. So is this the same when writing for radio or television? And if so, do writers hear characters as clearly as if a real person were speaking or as an external voice outside of themselves? In this podcast we hear from accomplished TV and radio writers Sarah Phelps and Al Smith and from Dr. Jennifer Hodgson, co-author of The Writers' Inner Voices project, the first ever large-scale investigation into how writers and storytellers hear voices. They discuss what it feels like to hear characters, whether there’s a difference between creating characters for television, radio and written fiction and the practicalities of script writing. For more podcasts, videos and articles visit http://www.bbc.co.uk/academy/production

Go behind the scenes with Iain and Katherine as they lift the lid on their Radio Academy Award winning breakfast show for BBC Three Counties Radio. They talk about how they decide which stories to run, how to get the best out of callers and why awkward moments on air aren't necessarily a bad thing.

In this specially recorded session from the Radio Academy's Radio Festival 2014, Richard Herring, comedian, writer, online trailblazer and creator of the semi-legendary Leicester Square Theatre Podcast, chats to Absolute Radio's Geoff Lloyd about how he has become a podcasting sensation. He talks about how he shapes his brand, about mixing in free content and about engaging with his audience by building an active Herring community.

Numbers of black, Asian and minority ethnic professionals working in TV have been steadily decreasing year on year. Why is it happening and what can be done to address it? Encouraging and equipping BAME professionals to re-enter the TV industry with renewed confidence and up to date knowledge - a special podcast from the BBC Academy Welcome Back event.

From 1942 to the present day – Desert Island Discs is one of BBC Radio’s longest-running programmes. In this special recording from the Radio Academy Radio Festival, journalist, broadcaster and presenter Kirsty Young answers questions about life on the mythical island. In this Q&A session led by Radio 4 broadcaster Jane Garvey, Kirsty describes how she approaches each interview, shares some of her favourite moments and takes you behind the scenes of one of the nation’s favourite programmes.

This week we hear from executive producer of BBC Two’s Peaky Blinders, Jamie Glazebrook. The session was recorded in Birmingham at the BBC Academy and Creative Skillset training day,‘Get your next job in drama.’ Jamie tells host Marverine Cole about the key ingredients that have made both series such critical successes and gives his insights into how the crew, from production designer Grant Montgomery to directors Otto Bathurst and Colm McCarthy, shaped the look, feel and sound of the series. He also highlights and discusses the vital relationship of trust between writer Steven Knight and production company Tiger Aspect who respected his vision.

From Doctors to Line of Duty, drama production in Birmingham is firmly on the map again, meaning great opportunities for TV freelancers. But how do you spot and create opportunities for your next big role? A panel of drama and media experts give us their insights.

Colm McCarthy, director of hit series including Sherlock and Doctor Who, has an impressive record of imposing a clear visual style and tone on his work, and talks to us about the latest production of Peaky Blinders. He tells us how the distinct style of series one informed the new series, and talks about the practical challenges of working with writer, production designers and cast to give colour to the scenes. He shares his views on the key relationships that determine the success of a production – between the director and assistant director; director and director of photography; director and editors; and of course the director and cast like Cillian Murphy and Tom Hardy. Colm talks about the process of shooting and editing on a series like Peaky Blinders, and shares what he thinks have been the most enjoyable and successful elements of the production. He finishes by giving his advice for directors taking their first steps towards a career in directing drama.

This is a special edition of the CoP Show podcast recorded at the Radio Academy's Radio Festival 2014. 2014 has been a big year so far for entry-level radio trainees, with more developments in the offing. In this session, Bauer, Global, the indies and the BBC come together to explain how they’re finding and nurturing the radio talent of tomorrow. Peter Curran introduces Courtnay McLeod from the Bauer Media Academy, Darren Henley from Classic FM, David Prest from Whistledown and Simon Broad from the BBC Academy. The session produced by Matthew Barraclough.

This a special edition of the CoP show podcast, recorded at the Radio Academy’s Radio Festival 2014. This recording was taken from one of the sessions at the Radio Festival 2014. Host Peter Curran discusses how to develop a podcast, how to get funding and asks, does it pay? On the panel, successful practitioners of the art of podcasting Helen Zaltzman, Roo Reynolds and Leila Johnston.

Recorded at the Radio Academy's Radio Festival 2014. We spoke to Bob Shennan, controller for BBC Radio 2, 6 Music and the Asian Network. He is also director of BBC Music, the pan-BBC brand bringing together all of the BBC's music programming.Bob talks about how he made his break into the radio industry and gives his tips for those trying to get in. He talks about the state of the radio industry and how it is being shaped by changes to digital technology.Finally he talks about the creation of God Only Knows, the BBC Music promotional song and video and the Children in Need 2014 charity single.

This is a special edition of the CoP Show podcast, taken from the session, “Breaking Bad? Can Radio Alone Still Break New Artists?”. It was recorded at the Radio Academy's Radio Festival 2014. In this podcast Kerrang FM’s Kate Lawler talks to Korda Marshall, director of the music label Infectious Music UK and Capital presenter JLS’s Marvin Humes about whether radio has managed to retain its place in breaking new acts, or whether sites like Spotify, Deezer and Soundcloud have forced it to take a back seat.

In this second podcast on file delivery, the panel discusses differences between tape and file delivery and offers pointers for programme makers embarking on file delivery. Joining Mark Harrison are Andy Tennant and Rowan de Pomerai from ITV Studios, and Stephanie Edwards and Andy Quested from the BBC.

Bringing a documentary to the screen takes planning as well as a real passion for the subject. This masterclass, recorded at Fast Train Cardiff, looks at the broad spectrum of docs, as well as delving into storytelling, access and building trust, dealing with and casting contributors and new techniques. Chair is Angharad Mair, executive director at Tinopolis and the panel includes Jon Connerty, executive producer on the BBC Three show The Call Centre, Sarah Swingler, head of Dragonfly West, and Amanda Rees, director at TiFiNi.

Tapeless programme delivery is upon us and things are changing in a digital world. How will this affect workflow at the tail end of post production? A panel of experts discuss!

Peaky Blinders is not your typical English period drama. Writer and creator Steven Knight tells us how the series came about and how the tough characters and gritty stories take shape.

A good script editor is vital to any production, but what exactly do they do? Top soap writer Ellen Taylor and development producer Henry Swindell explain how passion and diplomacy are their most important skills.

How do you produce a quiz show? How do you know you're onto a winning format? We talk to Sarah Timbury, Gary Chippington and Jamie Ingley who have worked on a wide range of shows such as, Eggheads, The Weakest Link, Million Pound Drop, Catchphrase and Goldenballs.

What does it take to become an intern at Radio 1 and work with Scott Mills and Gemma Cairney? Jaguar, Hamza and Ore', graduates from the Radio 1 and 1Xtra Take It On scheme, take us behind the scenes.

30 seconds to impress: how to create radio trails that will make your audience sit up and listen. BBC Radio Cross Trails producer Dominic Ross, BBC Radio 4’s Anne-Marie Luff and Celador Radio’s (The Breeze, Jack FM) James Stodd offer their advice.

Ideas are the lifeblood of TV, radio and online production as fresh and unusual concepts are constantly in demand. But can anyone come up with a great idea? And how do you maximize the impact and success of your ideas? In this podcast Emer McPolin talks to Linda Green, executive producer of the BBC Academy's Creative Leadership Programme, and BBC producer Claire White, to reveal the techniques that will help you to develop and hone your programme ideas, taking the best from paper to pitch.

John Finnemore, creator and writer of John Finnemore’s Souvenir Programme and Cabin Pressure talks to BBC Radio Comedy producer Colin Anderson about radio sketch writing. Recorded at The Craft of Comedy conference, held in Llandudno, North Wales on 22 February 2014.

The web has become a fertile breeding ground for rising comedy talent, who see it as the perfect platform for exploring their creativity. We talk about the practical considerations with our guests Jon Petrie, producer of People Just Do Nothing, Brothers With No Game co-creator Leon Mayne and Yaz Al-Shaater, co-director of Missing Something.

Mama Youth's Bob Clarke, Simone Pennant from the TV Collective and Aaqil Ahmed, president of the BBC's Black and Asian Forum talk with BBC Radio apprentice Olivia Cope about ethnic diversity in the media industry, why it matters and what we can do about it.

Whether it's Vine, Instagram Video or Keek the popularity of micro video is changing the social media landscape. Our panellists Ian Padgham and BBC Rajiv Nathwani discuss the practicalities of creating these super short videos and how they can be used to enhance the social media activity around your production.

Interested in writing medical drama? The team behind Holby City, Casualty and Doctors gave some tips for writers in this CoP Talk recorded by BBC Writersroom. On the panel chaired by Kate Rowland, Creative Director, New Writing was writer Lucia Haynes, Holby City series producer Simon Harper, Casualty’s medical advisor Pete Salt and Anne Edyvean, BBC development producer for continuing drama schemes The talk took place at the University of the Arts London and was a partnership between BBC Writersroom, Drama Centre London and Central Saint Martins' MA in Dramatic Writing on Wednesday 26th March 2014.

When and where your finely crafted television programme is placed within the channel schedule has long been crucial to the show's success. It’s the TV scheduler who makes these decisions. Drawing on audience research and channel strategy, they make sure each programme reaches its target audience as best as possible, balancing it against what rival channels may be broadcasting in the same time slot. What exactly does a TV scheduler do, why are they important and how is scheduling changing in an on-demand age? Schedulers from BBC Three, Four and Dave tell us more.

What is iWonder and how is it being used for the BBC's World War One Centenary? We are joined by the team behind both projects to find out more. Tim Plyming is the executive producer the World War One Centenary project. Ruth Levis is a producer for World War One Centenary online. Nick Horrell is a senior product manager at the BBC's Knowledge and Learning department, he's currently working on the iWonder interactive guides.

A panel discussion from the RTS Futures event Making it in TV design, with helpful advice on how to get into and ahead in art, costume and make-up departments. Joining Alice Skidmore are production designer and former BBC design trainee Sarah-Jane Prentice, costume trainee Jo Stobbs and Katherine Scoble, a make-up designer with over 15 years' experience in the TV industry.

Jonny Keeling, Steve Greenwood and James Honeyborne - three producers from the BBC's Natural History Unit share their top tips and advice on how to get into making natural history programmes.

We talk to six of the BBC’s latest production trainees about their placements across the BBC and what tips they have for getting onto the scheme.

Steven and Emma offer some tips on how you can get into making radio about food, from the importance of building up your general radio skills to creating your own podcast – showing you have a passion for your subject. Steven Williams is from Radio 4’s Cook The Perfect..., a regular feature of the long running Radio 4 magazine programme Woman’s Hour. His interest in food radio started at In Touch on the Can't See, Will Cook series and is a keen cook at home. Emma Weatherill is an assistant producer for BBC Radio 4’s the Food Programme. She has previously worked on Woman’s Hour and more recently Farming Today.

Theatres, art galleries and museums are seizing hold of broadcast technology to reach new audiences, by beaming their productions into local cinemas and online. The National Theatre's Emma Keith and Jane Burton from Tate Galleries join the CoP Show’s India Rakussen to tell us how it's done.

In this podcast we are joined by producers Thomas Viner, Jon Riley and James Brickell who all have experience of working with user-generated content in a number of formats. We look at the issues you need to be aware of, the challenges and the responsibilities towards the creator of the content as well as the opportunities it can provide for producers in creating new formats.

From Big Train to Father Ted, some of the best known and most successful British comedies of recent years have been penned by Arthur Mathews. In this masterclass, recorded at the home of BBC Radio Comedy, he shares his ideas on finding comedy in the most unusual situations.

No-one under the age of 25 listens to speech radio, right? Are radio commissioners missing a trick by ignoring them? The BBC's latest radio apprentices offer their take on why speech radio matters and how to freshen it up.

For bedroom broadcasters and would-be podcasters, internet radio offers global reach for minimal cost, but how is it all put together? A panel of internet radio enthusiasts tell us more.

Blackadder, The Vicar of Dibley, Four Weddings and a Funeral: these classics have placed writer Richard Curtis at the heart of British comedy. He joins us to talk punch lines, characters and creating comedy gold.

Whether you’re watching Strictly on your HD TV or Sherlock on your tablet, sound is a massive issue for audiences. It’s a huge bug bear for sound engineers, and the single biggest topic of viewer complaints. But this is all due to change, as new guidelines are being introduced which mean that all programme sound should be mixed to the same standard. In this podcast, broadcast engineering trainer John Heraty, audio technologist Andrew Mason and sound editor Richard Collins join us to examine loudness – what it is, why it matters and how to monitor it in the studio and at home.

We go behind the scenes of the BBC's urban youth station as presenter Mistajam chairs a panel with 1Xtra breakfast presenter Twin B, Radio 1 and 1Xtra controller Ben Cooper and assistant producer Elise Cobain. They talk about the production roles at the station, from team assistant to producer, what it takes to be a presenter and routes into the industry.The panel also talk about the difference between the producer and presenter role. Elise, Twin B and Ben talk about the passion and creativity you need to work in radio, what can give you the edge for working in a station like 1Xtra and how to progress in the industry.

From the school to the chicken shop, fixed rig productions have given us unparalleled access to familiar worlds. We talk to the makers of two of the format’s biggest hit – Gogglebox and 24 Hours in A&E.

Our weekly podcast has offered up tips for newcomers into the industry, advice for freelancers and guidance from some of the great and good in broadcasting. We’ve heard from a wealth of people from all walks of the industry, at all levels, happy to share the things they’ve learnt. In this podcast, we look back at some of our favourite moments from the year and give a little taster of what’s to come in 2014.

Are 'hands-on', technical broadcast roles for men only? Of course not, but figures show attitudes still need to change. Three experienced female broadcast professionals join us to share advice for women interested in pursuing a career in technical broadcasting. Are women being held back in technical roles in broadcasting? As the industry strives to fill a real skills gap, we discuss how to bridge the gender gap in radio, TV and online.

Ever wondered what it takes to re-create a big historical event in real time for radio? We find out exactly how, with the team responsible for creating the Minute by Minute format on Radio 2.

Broadcasting talent of the future: meet the BBC Production Trainees of 2013, find out what led them to apply for the scheme and their advice for future applicants, in this special edition of the CoP Show.

The new tax rules on making high end drama may mean new opportunities for writers. But what does this actually mean on the ground? Will this impact on how writers deliver content? Will commissioners need to change how they work? And will the showrunner play a bigger role in how dramas are developed? A panel of experts from film and TV deconstruct what it all means at the BBC Academy Fast Train Cardiff event, held on 7 November 2013. With Julian Murphy from Little Monster Films, writer Phil Ford, Laura Lankester, head of development for BBC Wales Drama and Ed Thomas, creative director for Fiction Factory. In the chair is Anne Gilchrist, head of development for Tidy Productions.

From high volume shows to presenter-led series, Crimewatch to Countryfile, features programmes cover a huge range. But is there a secret formula for creating a winning format? And what’s it like to work on a features team? In this masterclass, recorded at BBC Fast Train Cardiff on 7 November 2013, a panel of media experts delve into the format game. The panel is chaired by Huw Jones, arts and media correspondent for BBC Cymru Wales, and includes Joe Mather, series editor for Crimewatch, Tess Cuming, head of factual entertainment and features for Boomerang, and Will Knott, head of development for BBC Features.

Priorities for commissioners are constantly changing, so how do you know what to pitch to them? In this specially recorded discussion from Fast Train Cardiff, Richard Sambrook, director of Cardiff School of Journalism, Media and Cultural Studies, talks to a number of commissioners about the shows that excite them and the pitching process. The panel includes Kerry McGeever, assistant editor for BBC Radio Wales, Llion Iwan, commissioner for factual programmes at S4C, Ellis Owen, head of commissioning at BBC Cymru and Gwawr Martha Lloyd, drama commissioner for S4C.

Dr Who lead writer and executive producer, co-creator of Sherlock and many other TV hits: Steven Moffat gives advice and talks openly about his writing career. A must listen from the BBC Academy Fast Train Cardiff.

Learning is no longer confined to schools and universities, nor is it limited to the platforms of TV and radio. The growth of online education has seen an explosion in apps, interactive learning tools and communities which allow people to learn in ways which work for them. So how do producers of learning content meet these changing requirements? Myles Runham talks to learning professionals Catherine Allen, Simon Budgen and Abigail Tinkler about how they create and distribute learning content which matches the high expectations of today’s internet users, bringing education to a wider audience through innovative strategies.

What are the opportunities for freelancers working in drama in Scotland, across radio and television? What’s the difference between a good script and a bad script? What are executives looking for when crewing up and how can creatives and writers really engage with the reported upturn in business? Recorded at the BBC Academy’s Fast Train event in Glasgow, October 2013, author, journalist and commentator Muriel Gray chairs this panel discussion featuring Chris Aird, head of drama for BBC Scotland, Bruce Young, editor of drama for BBC Radio Scotland, director Douglas Mackinnon and writer Andrea Gibb.

Identifying the priorities for commissioners is a common dilemma for all programme makers – how to find out what shows excite them, where there are gaps in their schedules, and how best to pitch those winning ideas. In this masterclass, recorded at the BBC Academy’s Fast Train event in Glasgow, October 2013, Jo Street, commissioning executive for BBC Daytime, Alan Tyler, executive editor for entertainment commissioning, BBC Scotland, Colin Paterson, editor for topical programmes and events, BBC Radio Scotland, and Ian MacKenzie, media project manager for Channel 4, highlight some of the issues that programme makers face and offer their suggestions of how best to make use of their time and their attention. The panel discussion is chaired by BBC Scotland presenter Shereen Nanjiani.

From apps to social media to online, there are now more ways to make use of your content, capitalising on your assets and extending your reach beyond the screen. This session, recorded at the BBC Academy’s Fast Train event in Glasgow, October 2013, looks at how to approach thinking about your programme as a brand and capitalising on the full use of content. The panel of industry experts included Matt Roper, digital media editor at STV, Stephen Noble, art director at digital agency Equator, and Tom Hodgkinson, senior content producer, BBC Scotland. In the chair is Dr Jillian Ney, Doctor of Social Media, Strathclyde University.

What are the trends in specialist factual television and how do they get commissioned? How do you choose your talent and what do broadcasters want? In this session, recorded at the the BBC Academy’s Fast Train event in Glasgow, October 2013, Craig Hunter, executive producer for BBC Scotland, Ross Wilson, creative director for Matchlight, Ed Crick, creative director at Tern TV, and Anne Laking, head of specialist factual at STV discuss the current and next big things in factual production. The discussion is chaired by BBC Radio Scotland presenter Kaye Adams.

Forging a career in TV, online or radio production is difficult enough, so it’s understandable how the addition of a disability might make someone reluctant to enter the industry. Emma Tracey, Claire Burgess and Dominic Hyams talk to Ben Toone about how they manage their broadcasting careers while also dealing with a disability.

You never know what a radio phone-in might bring, so how do you stop debates going awry and keep unpredictable callers in line? Paul Buller is joined by Julian Worricker, Gabriella Incalza and Tim Wheeler to discuss how radio phone-ins work, and how the teams involved handle the unexpected.

Summer festivals have become a British institution and now festival radio is very much a part of that. Independent production company Folded Wing, the team behind Field Day Radio, share their advice on creating and distributing audio content from festivals. We spoke to Karen Pearson, Jim Lister, Tom Baker and Milly Chowles from Folded Wing to find out about the planning, production, edit and distribution of a radio show based on audio content from a music festival.

From the excitement of natural history programmes to the high drama of the Great British Bake Off, the music we hear can affect everything we watch. But does it enhance the narrative or ruin our viewing pleasure? Composer William Goodchild, Richard Bradley from Lion TV and film editor Jake Martin discuss the impact of music in factual programmes.

Interviews with the speakers of the standout sessions of the Next Radio ideas conference. We hear from Absolute Radio’s Geoff Lloyd on never underestimating your listeners and BBC Radio 5 Live’s North of England reporter Nick Garnett on how to do an outside broadcast from anywhere Plus how the BBC’s digital Glastonbury was put together and some ideas on innovative radio straight out of Africa.

The magical worlds of Pink Floyd, the Hitchhiker’s Guide to the Galaxy and Neil Gaiman’s Neverwhere have all been vividly brought to life on radio. In this week’s CoP Show podcast Hazel Marshall and guests Dirk Maggs, Jessica Dromgoole and James Robinson pull back the curtain to reveal the rules and possibilities of radio drama.

How is technology changing what we listen to and how we will listen to radio on the move? The BBC Blue Room's Garry Green talks to the CoP Show's Ben Toone about in car listening, the rise of ‘personalised’ radio and how online media players and apps such as UK Radioplayer and the BBC’s iPlayer Radio have opened up choice for listeners.

Online and social media content is a must have tool for enhancing your production. Audiences expect and demand it, but are programme makers giving them what they want? Barry Pilling, founding partner at Telegraph Hill, Jody Smith, multiplatform commissioning editor at Channel 4, Karla Geci, director of strategic partner development at Facebook, and Claire McArdle, executive producer, multiplatform at Maverick Television, join Paul Buller to discuss how to lead your production teams to deliver a 360 experience for your viewers, using innovative and interactive add ons to engage and bring in brand new audiences, beyond the traditional TV reach.

Short Cuts is a radio show for BBC Radio 4 that showcases interviews and documentary pieces from the UK and beyond by making vivid use of sound, music and intriguing production techniques. Sophie Lording talks to the team behind the series, Eleanor McDowall, Alan Hall and Hana Walker-Brown, about how they find and create intimate yet exciting stories for radio. They discuss interviewing and recording techniques, equipment and the use of music and sound to create soundscapes.

What are the current trends in consumer TV technology and how may that present problems or opportunities for programme makers? Garry Green takes Ben Toone on a tour of the BBC's Blue Room which looks at how the world of consumer technology is changing the broadcasting industry, from connected television to interactive games, 4k TV, the latest camera capture technology and 3D TV.

JacksGap, Jamie Oliver's Food Tube and Earth Unplugged – three established channels that are engaging demanding online communities with their content. This week Simon Smith talks to YouTube champions Jack Harries, Richard Herd and Chris Howard about the golden rules of creating a successful, factual YouTube channel.

Taking the Welsh soap to a new audience online. Denise Roach talks to Hannah Thomas, Rhys Carter and Andrew Canham, part of the team who have taken Pobol y Cwm beyond its traditional scope and into the digital space with PyC, the first ever multi-platform project of its kind in the Welsh language.

Traditional TV and radio audiences are now able to discover your content via many platforms online, so how do you make sure your message and your programme doesn’t get lost? Simon Ford is joined by BBC producers Jaine Sykes and Mike Kibblewhite, and author, copywriter and trainer Neil Taylor, to discuss how establishing the right tone and structuring your copy can help both novice and more experienced writers.

Denise Roach talks to three radio studio managers, Ian Deeley, Bob Nettles and Ian Painter, about why the studio manager is so integral to speech, news and other radio recordings. They give their tips on sound recording and editing for anyone wanting to create great sound, whether they’re a radio producer or a bedroom based podcast maker. The panel also talk about routes into the studio manager role, and explain how there are many similar career paths in the commercial sector, including working with audio outside of radio altogether.

The second of two podcasts on storytelling for natural history programmes. Ben Toone talks to the BBC Natural History Unit's Jonny Keeling about storytelling for children's programmes and Steve Greenwood about BBC Two's Natural World series. Ben also talks to the BBC Academy'€™s Hazel Marshall, who teaches storytelling acoss the BBC. She gives her take on why storytelling is important, the process of finding a good story and offers some tips for programme makers.

In the first of two podcasts on storytelling for natural history programmes, Ben Toone talks to producers James Honeyborne, Verity White and Rupert Barrington of the BBC's Natural History Unit in Bristol, who all worked on one of the unit’s most celebrated landmark series, Africa.

With the likes of Mary Beard and Lucy Worsley now appearing regularly on air, this week's podcast hears from three guests who examine the challenges of being an expert woman in the broadcast industry. Denise Roach is joined by experts Tina Miller, Charlotte Connelly and Sally Marlow, who each found themselves in the spotlight after attending the BBC Academy Expert Women event. They tell us about their experiences, give some advice and talk us through what it takes to be an expert woman on TV and radio.

With the likes of Ricky Gervais now moving to producing content exclusively for YouTube, and with global companies like Intel and Toshiba funding social media driven dramas, many in the traditional broadcast industry are asking 'Where next for drama and fiction in broadcasting?'. BBC Academy did its best to provide a few tentative suggestions in its latest open forum, the Fusion Future Fiction day, held at BBC Broadcasting House last week. The day set out to explore how technology, emerging themes and audience habits are changing the art, craft, science and business of storytelling on screens large and small, and BBC CoP went along to hear the questions, debates and ideas put forward.

For many programme makers and viewers, the word 'archive' conjures up images of flickering black and white footage and grainy recordings dug up in a dusty library. But good archive can come from many sources and offer productions a rich and immersive window onto the past as well as giving contemporary stories a new perspective. This week, Denise Roach talks to radio producer Heather Davies, freelance producer and director Nico Wasserman and senior researcher Amanda Keir about the varied and often challenging world of using archive in your production.

Making the break into paid, professional radio can be hard. So if you’re broadcasting on community, student or hospital radio or producing your own podcasts, how do you get into paid employment in the sector that you love? Sophie Lording gets some tips from radio presenter Sean Thorne, freelance comedy producer Dave Cribb and BBC Radio's James Cook, Maggie Ayre and John Byrne at the Student Radio Association's training in Bristol.

What are the secrets of successful independent budget film making, and if you're not born with a silver spoon in your mouth, how do you take your fledgling film to the next level? Simon Smith is joined by film makers Dominic Brunt, Marc Price and Chris Jones, who share their experience of the many decisions film makers need to make about kit and post production and offer their advice to budding film makers on how to get those distribution deals, film festivals and competitions.

Controller of BBC Information & Archives Sarah Hayes, senior media manager Elaine Narrie and freelance director of photography Chris Jones join Simon Smith to discuss the challenges of managing your media successfully. Digital files offer huge potential for film-makers to access and share material on an unprecedented level and to collaborate around content from the early stages of a project. Yet that potential can only be realised if teams put some sort of media management plan in place from the outset of a production.

Science presenter Michael Mosley and development producer Helen Docherty talk to Sophie Lording about how we can make engaging science television. They discuss how to find and develop an idea, finding the right format and presenter and how to communicate the science in a way that the audience understands without dumbing down the subject.

EastEnders online video producer Matt Taylor, The Royal Opera House's head of media Tony Followell and digital consultant and founder of Storythings Matt Locke talk about the ways you can make digital work for your programme, organisation or project. Whoever you are, digital brings new ways of reaching your audience. Whatever content you create, whether fact or fiction, you can use digital production and distribution techniques to help you reach a wider and more committed audience.

The editorial and legal pitfalls of programme making. BBC Editorial Policy's Su Pennington, programme lawyer Clare Hoban and producer and journalist Maire Devine join Paul Buller for this second podcast. They talk about dealing with consent, privacy and online content.

BBC Science’s Andrew Thompson, Charles Colville, producer for BBC Factual, and Lizzie Faulkner, series producer for Sky Atlantic, BBC One and RTE, join Hazel Marshall to discuss scriptwriting for factual television.

The editorial and legal pitfalls of programme making. BBC Editorial Policy's Su Pennington, programme lawyer Clare Hoban and producer and journalist Maire Devine join Paul Buller to offer a guide to not getting your TV or radio programme pulled. A non-commercial perspective on how to avoid those legal or editorial pitfalls which could result in you having to scrap or retake material or even find yourself in trouble with your editor, the press or even the courts.

The Secret History of our Streets' Jaime Taylor, Bang Goes the Theory's Mark Edger and The One Show's Charlotte Denton discuss the essential skills needed to be a researcher for factual TV and the importance of sources, stories and keeping notes. Whichever area of the industry you're in, the ability to research and tell stories is essential, but to get ahead of the rest it's going to take more than a few clicks on a search engine to find the very best material. So, how do you find that surprising fact, that unexpected contributor or winning story that will make your programme unique? Our panel offer their views on how a researcher can make the best of his or her time and on the resources available to get the best for their programmes.

Executive producer of Our War Colin Barr, Drugs Live: The Ecstasy Trial producer Dan Murdoch and BBC broadcast lawyer Clare Hoban join Simon Ford to talk about how to put together a television programme that tackles controversial subjects. They discuss the differences between simply being controversial and the editorial and legal responsibilities of programme makers covering a controversial subject. They share their insights on working with outside bodies like the MOD and scientific research councils, working with contributors, and the difficulties that social media and unedited online footage may represent.

BBC Radio 1 Breakfast's Laura-May Coope, managing director of Somethin' Else Steve Ackerman and Jack FM Oxfordshire’s Sue Carter offer their views on how to innovate in radio. The panel discuss how social media has been a game changer, and with tools like Twitter, Facebook and Tumblr now enabling greater audience engagement, having a conversation with your audience is clearly important. Even YouTube has a role to play and may now be the new hunting ground for talent – the likes of Dan and Phil and Charlie Sloth attest to that – so taking creative risks remains key to how successful your innovation will be. Being local with a small budget is no bar to innovation either, as stations like Jack FM have shown, making the most of their branding and budget and reaching their key audiences in an immediate and relevant way.

What production techniques and programming will we see in 2013? Channel 4 multiplatform commissioner Jody Smith, radio futurologist James Cridland, BBC entertainment commissioning editor Mirella Breda and the BBC Production Innovation Unit's Dean Matthewson gaze into the crystal ball with College of Production website editor Paul Buller. They talk about what we have learnt from the best, the worst and the most bizarre programming of 2012 and offer their advice for your productions in 2013.

Simon Smith guides us through some of our favourite CoP Show moments from 2012. With Louis Theroux offering an insight into his documentary-making methods, Louise Minchin on presenting for the Jubilee, Matthew Pinsent talking about World Olympic Dreams and Bush Radio's Zane Ibrahim on why we love radio. There's advice on getting into comedy at the Edinburgh Fringe and how Iggy Pop can cause trouble at your music event. Plus how to make your video viral, the art of the interview and advice to get in and get on industry.

From Hackney Weekend to Glastonbury, major live music events present a great opportunity for broadcasters. But if you fail to properly plan and prepare for health and safety issues your broadcast or event could be memorable for all the wrong reasons. Simon Smith is joined by Radio 1 and 1Xtra event producer Antonia Kyle, MRL safety's Julian Bentley and BBC Safety advisor Stuart Page to hear about their experiences and get some practical advice.

Simon Smith talks to Jo Twist, Jon Howard, Martyn Jones, Kieron Collins and Alice Taylor at the BBC Academy Fusion summit on games and broadcasting. Where are we now in terms of broadcasting and games, and what can the television learn from the games industry? Tell us your thoughts by tweeting @BBCCoP using the hashtag #FusionGames.

Digital content production is no longer the preserve of broadcasters as more and more organisations are taking advantage of the opportunities digital brings. The arts are no exception. Simon Smith is joined by Artangel's Seb Emina, Helen Jeffreys from the London Review of Books and the director of the BBC Academy Anne Morrison. They talk about the possibilities and challenges of producing digital content. They also talk about partnerships and The Space, an online platform for the arts.

A returnable format is the Holy Grail that all factual and entertainment TV programme makers are searching for. But where does the inspiration come from and how do you build and develop them? This is a recording of a masterclass from the BBC Academy’s Fast Train North event held on 20 November 2012. The BBC Academy’s Hilary Rosen is joined by Tom Edwards, commissioning executive producer for features and formats for BBC One and BBC Two, Gill Tierney, executive producer for BBC Television whose credits include Coast, Gardeners World and Sam Lewens, an executive producer who has worked on Dragons' Den and BBC Three's Young Talent of the Year.

In this CoP Show special executive producer Alison Howe talks to us about how her Glastonbury team mastermind the television coverage. In discussion with Amanda Lyon from the BBC College of Production.

Santa Simon Smith and some friends of CoP run a critical eye over the past year’s output from the world of telly, radio, social media and the web. We also have a bit of a quiz. With Steve Bowbrick interactive editor for Radio 3, The Proms and the performing groups at BBC, Dan Biddle BBC Vision’s social media editorial lead and Jude Winstanley,a freelance production manager and creator of online jobs site The Unit List.

Paul Buller is joined by three of this year's Student Radio Award winners. Best newcomer Abbie McCarthy, Robin Murphy, station editor for the best student station University Radio Nottingham and Radio Warwick's Tom Davis, executive producer of the best outside broadcast. They talk about the need to focus on your audience, take creative risks, how video and clips can bring people back into radio, their future aspirations and offer tips to other student stations and the wider industry.

Simon Smith is joined by a panel of experts to discuss the art of creating behind the scenes programming on a range of formats including Planet Earth, X Factor, Britain’s Got Talent and Strictly Come Dancing: It Takes Two. Alex McLeod is the executive producer of Strictly Come Dancing’s sister show It Takes Two. Jeff Wilson is a producer with the BBC’s Natural History Unit and has created behind the scenes programmes for flagship shows such as Planet Earth and Frozen Planet. Steve Saul is a writer, social media producer and self shooter who’s been responsible for providing backstage content for shows such as Britain’s Got Talent, X Factor, The Magicians and Never Mind the Buzzcocks.

Simon Smith and four BBC production trainees share their thoughts on getting into radio production. Farah Jassat, Sarah Shebbeare, Jen Kerrison and Carlene Morlese are four trainees who are starting their training in BBC network radio. They talk about their experiences within the broadcast industry, their passion for storytelling and their feelings about their placements. They also offer tips and advice for people applying for the Production Talent Pool and the trainee scheme.

Simon Smith talks to four BBC production trainees, Karla Sweet, Mog McIntyre, Kelsey Richards and Kathryn Shrubb, before they embark on placements in television. They discuss their journeys into the industry, their passions for storytelling and the broad benefits of their television production training. Plus we take a look at tips and advice for people applying for the BBC Production Talent Pool.

Simon Smith is joined by BBC Academy trainer Ian Hider, self shooter Paul Morten and editor Zeb Chadfield to discuss shooting for the edit. Tight budgets and even tighter edit schedules mean opportunities for directors and self shooters to be in the edit with their own work are often limited. But as many will tell you, being in the edit is by far the best place to learn how the construction of a programme works. So if you're rarely offered time in the edit, how are you ever expected to learn? How can you give your editor the very best shots available if you've never seen them in action?

Simon Smith and guests take a look at career opportunities for designers more interested in the digital world. With Yasser Rashid, head of UX&D for BBC Radio, Music, TV and iPlayer, Helene Sears, editorial designer for BBC News online and Adam Powers, head of UX at renowned advertising agency Bartle Bogle & Hegarty.

With 72 hours of video content being uploaded to YouTube every minute, how can you make sure your clip has the best chance of being seen or shared? Three industry experts Matt Smith, Jon Aird and Stuart Fryer share their thoughts with Simon Smith on making your clip go viral.

Three guests with a wealth of broadcast experience join Simon Smith to talk about the value of moving across genres in your career, and how to do it effectively. They share their experiences and offer advice on how broadcast industry professionals can make themselves more employable in different genres. Daniell Morrisey is a BBC talent executive who has previously worked as a journalist and editor, HR & development manager for BBC Comedy and Entertainment and head of recruitment for BBC News. Geraldine Lewis has worked across various genres including news, documentaries, events, features, drama & sport during her nearly 20 years at the BBC. She joined BBC Sport two years ago, where she now looks after TV Production Talent. Emily Gale started out working for BBC Regional News in Plymouth, next moving to Watchdog and then CBBC where she became a series producer. She worked in New York making reality shows for Discovery and Bravo, and is now head of talent for Fremantle Media UK.

Pat Younge, BBC Vision’s chief creative officer hosts this special BBC Academy session at the 2012 Edinburgh Television Festival focusing on just what goes into delivering a ‘killer pitch’. His guests are Melanie Leach, managing director, Twofour Broadcast, Richard Shaw, head of development and executive producer, Lion Television and Victoria Ashbourne, managing director, Victory Television. They discuss the dark art of pitching, and reveal everything you wanted to know about the pitching process but were possibly too afraid to ask.

Simon Smith and his guests from the Kirrin Island podcast discuss how they created their top 20 iTunes comedy podcast. With producer and writer Alison Pritchard, script editor Stu Cooper and writer and performer Steve Holford.

Finding the next, ground-breaking TV features show is the Holy Grail for many of us in the industry, but where do you start? Should we be looking for new territory or predicting future audience trends? Is it the way you tell the story or the use of new technologies? Will it be evolution or revolution? Are formats past their sell by date? And if so, what might replace them? The panel are Colette Foster (Remarkable television), Bridget Boseley (Outline Productions), Alan Brown (Chocolate media) and Karoline Copping (Channel 4). In the chair is Anna Richardson.

CoP website editor Paul Buller talks to three of the people behind the BBC site at the Edinburgh Fringe Festival. They are project director Sophie Taitt, event and project manager Ruth Milway and content producer Sidd Khajuria.

BBC Radio 2 and 6 Music presenter Jon Holmes talks to experts at the Edinburgh Fringe about how to get started in the media industries. Louise Brown is Channel 4's head of multiplatform commissioning, Marcus Herbert is executive producer for BBC Specialist Factual, Karl Warner is executive editor of BBC Entertainment Commissioning and Marcus Ryder is BBC Scotland's current affairs editor.

Countless female comics are getting rave reviews at the Edinburgh Fringe. Are they redressing the gender balance in what has always been a particularly male-dominated industry? Jen Kerrison asks how our three panellists found their way into comedy, and hears their tips for a successful career.

In our live podcast at the Edinburgh Fringe, Simon Smith talks to four comedians who are making use of these platforms, and discusses how the opportunity to self-publish and self-promote is changing the comedy industry.

Hazel Marshall discusses the improvisation techniques that can be used to enhance storytelling with Dominic Savage, Julian Simpson and Deborah Frances-White.

Hazel Marshall and guests talk about how to create a drama which brings to life the grit and reality of a specific profession. Whether it's the emotional ebb and flow of the hospital ward, the intense cut and thrust of the courtroom or the perils of police partnerships, today's three guests are all masters in the craft of producing profession-based dramas.They are Hilary Salmon, Justin Young and Sally Wainwright.

What are the practicalities of getting into design? Simon Smith and guests discuss the skills needed to get started and take your career in design to the next level.

Members of the public crop up on our TV screens all the time. But how do programme makers ensure they treat contributors honestly and with respect while asking them to do something which is often well outside their comfort zone? Joining Hazel Marshall in the studio to discuss working with members of the public that help us to tell a story or investigate a subject are Stuart Bernard and Tom Bateman.

Joining Simon Smith in the studio to discuss the shows made with as little negative impact on the environment as possible are Sarah Gordon-Jones and Francis Gilson. Dialling in from Tunbridge Wells we have Richard Smith.

According to a survey by industry newspaper Broadcast, TV freelancers are feeling the strain more than ever. Joining Simon Smith in the studio to discuss how the industry should address these problems and what freelancers can do to make a career in TV last for life are, Susie Worster, Jude Winstanley and Hilary Rosen.

With over 200 stations in the UK, community radio is booming. Thousands of people with no previous experience are being given the opportunity to produce and present their own radio shows to a focused, captive audience, on a regular basis. The BBC now actively works with community stations to share content and recognises it as a good source for bringing through talent. If you’re looking for on-the-job radio training and you haven’t got involved with your community station, why not? Here’s your chance to find out more. Joining Simon Smith in the studio is Terry Lee, Andrew David and Elonka Soros.

Joining Simon Smith in the studio to discuss the unique challenges of filming in extreme locations are Toral Dixit, John Conroy and Oliver Steeds.

2012 saw two epic live events, the Olympics and the Queen’s Diamond Jubilee. Coverage of the Royal Wedding was a big act to follow, however the BBC rose to the occasion when the Olympic torch arrived in the UK. But how do broadcasters handle The Big Event, and by live events TV we mean coverage of occasions that would happen with or without the TV cameras, and what to do when everything goes wrong? Joining Simon Smith in the studio to discuss what goes into the planning, executing and the challenges of live events TV, are Matt Millington, Lizz Loxam and Louise Minchin.

Joining Simon Smith to discuss the programmes the second screen is working well on, how can we make better use of it and what the long-term effects on production and audiences will be are Andy Littledale, Dan Biddle, Tom Williams and Gez O'Brien.

BBC World Service Newshour presenter James Coomarasamy hosts this talk on World Olympic Dreams, the extraordinary project that followed 29 aspiring Olympians on the road to London 2012. Joining James are Matthew Pinsent and Kevin Bishop. Matthew Pinsent is a four times Olympic gold medallist. Kevin Bishop is the series producer of World Olympic Dreams. In this talk Kevin and Matthew share moments from their remarkable journey, lessons learnt along the way and their hopes for shaping sports coverage, post 2012.

Maggi Philbin hosts this masterclass about the the shape of things to come. She is joined by Peter Barron, head of PR at Google, Nick Newman, digital strategist and consultant and former head of BBC Journalism Products within the Future Media department, Daniel Danker general manager of programmes on demand and Peter Cassidy, director at FremantleMedia UK Interactive. Predictions are problematic…but that didn't stop our expert panel of programme makers, technologists and digital strategists from peering into the future and speculating wildly about the shape of things to come. How will Technology influence TV in one, three and five years time? How will audiences be sharing, engaging with and reacting to TV content across news, sport and drama? How will broadcasters be measuring success, and what revenue streams will be funding TV in one, three and five years?

Hazel Marshall hosts this masterclass about the skills needed to make it in drama. She is joined by Ruth Caleb, executive producer BBC, Jane Featherstone and Andrew Davies. What does it take to sustain a successful career in the TV industry? Hear from a panel of award winning and highly respected practitioners about how they have maintained their creativity and vision and continued to spot and create fantastic programmes that resonate with audiences year after year.

What does it take to sustain a successful career in the TV industry? Hear from a panel of award winning and highly respected practitioners about how they have maintained their creativity and vision and continued to spot and create fantastic programmes that resonate with audiences year after year.

Long live the comedy panel show….love them or loathe them audiences never tire of watching them. Mutating from the satirical edge of Have I Got News For You to the anarchy of Celebrity Juice this genre boasts a longevity hard to rival. This session unpicks the appeal of panel shows from the classic formats to the noisy new kids on the block. Our expert panellists, all comedy connoisseurs, reveal their secrets for cracking the format. The panel are Nick Martin, series producer HIGNFY, Dan Baldwin, MD Talkback and Marc Haynes, TV comedy writer. In the chair is Warren Prentice.

Daisy Goodwin hosts this masterclass about the coveted role of a controller. The controllers are Danny Cohen from BBC One, Zai Bennett from BBC Three and Liam Keelan from BBC Daytime.

This session looks at the storytelling and craft skills needed to work across both factual and drama. We hear from a panel of experts how they initially moved from factual to drama, what skills they needed and how their programmes benefit from a multiplicity of storytelling skills. The panel are Colin Barr, My Murder, Alex Holmes, House of Saddam, Jon East, That Summer Day and Hilary Salmon, Maxwell. In the chair is Hazel Marshall.

Join with leading experts from across the industry to look at how they use social media to great effect with regards to informing content, increasing reach, engaging and interacting with audiences, and building loyalty before, during and after broadcast. The panel are Barry Pilling, founding partner at social production company Telegraph Hill, Stephen Saul, social media producer, Talkback Thames, Dan Biddle, editorial lead, TV & iPlayer social media at BBC. In the chair is Sara Brailsford, director of content at Atomized Media.

A discussion with those who commission, produce and present on tv about why women are not adequately represented on the screen and what can be done about it. The session will also offer practical tips on how to find and produce female talent. The panel consists of Alison Kirkham, commissioning editor, Features and Formats at BBC Knowledge, Ben Munro Davies, output editor, Channel 4 News, Claire Richmond, MD Find a TV Expert.com and Siara Khan, presenter and business expert. In the chair is Lisa Campbell, editor Broadcast.

Constructed reality shows such as The Only Way is Essex and Made in Chelsea, have become incredibly popular in the last few years. So how do the programme makers influence and piece together real and fictional elements to create this often addictive TV and where is this genre headed? Joining Simon in the studio is Alan Hayling, Patrick Holland, Jonathan Stadlen and Tony Wood.

We hear from producers Andy Brereton, Jamie Ormerod and Tilusha Ghelani, on how the project grew from a one off special as part of Comic Relief to a ten part daytime commission.The team talk us through the process of transforming an already popular show to TV while striving to stay true to the original format.

Hazel Marshall and guests discuss how to write sitcoms. With John Finnemore, Jon Plowman and Tira Shubart. John Finnemore writes and stars in the award winning Cabin Pressure on Radio 4. Tira Shubart wrote the critically acclaimed BBC Two sitcom Taking the Flak. Jon Plowman has an extremely illustrious comedy background, exec producing Absolutely Fabulous, The League of Gentlemen and The Thick of It amongst many more comedy classics.

Joining Simon Smith in the CoP Show studio to discuss immersive documentaries are Louis Theroux - BAFTA award winning, Emmy nominated and famous for his ability to penetrate intriguing worlds in BBC documentaries such as Wierd Weekends, ‘When Louis Met: Jimmy Savile and his more recent Extreme Love series. Lee Phillips - a BAFTA award winning series producer and director of documentaries lead by Dawn Porter and Danny Wallace, such as My Breasts Could Kill Me and How to Start Your Own Country and joining us via phone from Manchester is Nelufar Hedayat - presenter of BBC Three documentaries such as The truth about Child Brides and Riots and Revolutions.

The benefits and difficulties of self shooting - an essential part of the job description of assistant producers, directors and researchers. Our War producer/director Stuart Bernard discusses the future of self shooting with Bang Goes the Theory editor Dermot Caulfield, Panorama producer Ken Kirby and resident CoP Show presenter Simon Smith.

Joining Simon Smith to discuss the art of the interview are Bridget Osborne - Bridget is a BBC radio and TV producer who used to be responsible for HARDtalk, Jeremy Phillips - Jeremy is an exec producer on Piers Morgan’s Life Stories at ITV and David Sillito, a BBC arts correspondent.

Music is an essential part of storytelling on screen and on the radio. Get it right and while you might not be consciously aware of its presence, it will nevertheless be playing a significant part in how you perceive the characters and relate to the story. So it's vital directors and producers understand how to work well with composers so they can weave their musical magic over their stories. Joining Hazel Marshall in the CoP studio to give an insight into their creative processes are two guests whose names you might not recognise but whose music you almost certainly will.

With Gareth Gwynn, Laurence Howarth and John Luke Roberts, writers of Mitchell and Webb, The News Quiz and Armstrong and Miller.

Simon Smith hosts the one year anniversary episode of The CoP Show. And to commemorate that first year, we've put together some of our favourite moments from our favourite guests.

Joining Hazel Marshall to discuss what makes a great adaptation are Stewart Harcourt – Stewart has adapted many Poirots for ITV including Clocks from Christmas 2011 and Treasure Island with Eddie Izzard as Long John Silver for Sky 1 at New Year and Sarah Phelps – Sarah adapted the much discussed Great Expectations with Gillian Anderson as Miss Havisham for the BBC in December 2011 and Oliver Twist for the BBC in 2007.

Andrew Collins hosts this masterclass where eight radio producers get a chance to pitch ideas direct to BBC commissioners. They get two minutes to sell their idea and commissioners have four minutes to give feedback. This is an opportunity to hear what goes on behind the usually closed doors of commissioning rounds. The commissioners are Lewis Carnie from Radio 2 and 6 Music, Tony Phillips from Radio 4, Radio 1 and 1Xtra's Piers Bradford and 5 live's Jonathan Wall.

Petrie Hosken from BBC Radio Bristol is joined by a panel of guests to discuss how to take risks in radio. All radio producers want to make challenging, provocative and fresh work. But how do you make sure that this work sits on the right side of Ofcom regulations and your in-house compliance team? The panel share their experiences of putting live comedy and edgy drama on air. The panellists are Steven Canny, acting head of BBC radio comedy, Carina Tillson, head of compliance for Global Radio and Kate Rowland, the BBC’s creative director for new writing

Linda Smith from the Radio Advertising Bureau is joined by a panel of guests to discuss the use of syndication to grow your audience and your revenue. Packed full of advice and anecdote, our guests share their experiences of what works when you’re looking to make the most of your audio assets. The panellists are Karen Pearson from Folded Wing, Russell Williams of Yahoo and Matt Deegan from Folder Media. They are joined by BBC Radio 1 DJ Rob da Bank and John Quinn, chief executive of the Global Travel Network.

Broadcaster Liz Barclay is joined by a panel of guests who share advice on how to set up and run an independent production company. They discuss their experiences of starting out and keeping going – the highs and lows - and give advice to those who want to follow in their footsteps. The panel are Mark Goodier from Wise Buddah, Gloria Abramoff of Tonic Productions, Mukti Jain Campion from Culture Wise and Nick Baker of Testbed Productions.

Sound Women founder Maria Williams is joined by a panel of guests to discuss how to create strong connections with your listeners. They discuss the value of audience research, share successful examples of work that their audiences have loved and suggest strategies for developing engagement and appreciation. The panel are Mary Dowson of Bradford Community Broadcasting, Robin Crowley of GaydarRadio, Brett Spencer, interactive editor for BBC Radio 2 and 6 Music and stand-up poet Murray Lachlan Young.

Georgie Bingham of talkSPORT is joined by a panel of guests to discuss the challenges and opportunities for sports broadcasters in this Olympic year. What approaches will radio shows deploy to grab audiences from tv and from each other? What skills will they require in their staff and what treats can listeners look forward to? Answering these questions are Moz Dee of talkSPORT, Jonathan Wall from BBC Radio 5 live and Claire McDonnell of IMG Media.

Tim Davie, director of BBC Audio & Music, is joined by a panel of guests to debate how audio can exploit new platforms and services. Do online sharing services challenge the future for traditional broadcasters? Does digital split the audience or create greater opportunities for audio producers? Answering these questions are radio futurologist James Cridland, Ben Fawkes from audio sharing service Soundcloud, Chris Maples of Spotify and Nicky Birch from indie Somethin’ Else.

Amanda Lyon is joined by three enthusiastic supporters of audio visualisation to talk about what video content adds to audio, and which shows are using visual techniques to best effect. They discuss an early example of audio visualisation from the 1930s and debate if it’s desirable or possible for all audio content to have a visual element. The guests are Joe Harland, BBC Radio 1 and 1Xtra’s head of short form content, 1Xtra DJ Charlie Sloth and photofilm creator Peter Rudge from digital agency Duckrabbit.

Broadcaster Fi Glover hosts a celebration of all things audio. Fi explains her passion for a medium which she describes as being like the best friend you never had. She reflects on the raw power of audio and talks to the broadcasters behind some of the bravest, brightest sounds you’ll hear. We hear from Zane Ibrahim of Africa’s oldest community radio station, Bush Radio, which began broadcasting illegally under South Africa’s apartheid regime. And Fi is also joined by Kate Hutchinson of London Fields Radio, to discover how a micro radio revolution is underway in a booth in a café in east London.

Country and western singer turned lesbian performance artist Tammy Whynot is the host for this session on getting into radio presenting. Her guests are presenters Annie Mac of Radio 1 and Angie Greaves of Magic FM, along with Paul Sylvester, head of presentation at Absolute Radio and Chris North, head of talent for Wise Buddah. They share their journeys, knowledge and expertise. Find out how Annie and Angie got their breaks and learn what radio executives listen out for in new talent.

Lorna Clarke, network manager of BBC Radio 2, is joined by a panel of presenters and their producers to discuss the secrets of successful creative relationships. Lorna and her guests debate how you can build trust, whether differences of opinion are destructive or desirable and how close the connection is between great relationships and great performances. The panel are R1’s Scott Mills and his producer Emlyn Dodd, Woman’s Hour presenter Jane Garvey and producer Lucinda Montefiore and Don’t Hang Up’s Alan Dein and Mark Burman.

Broadcaster Liz Barclay is joined by a panel of guests to discuss the practicalities of being an audio freelancer. They talk about the vital skills and attributes needed to get jobs, keep them and make sure the bills are paid. Their advice covers everything from tax status to networking, time management to training. The panel are Phil Critchlow, director of TBI media, Alex Firas Weaz, freelance multimedia producer and promoter and freelance journalist Angela Robson.

Simon Smith talks to three guests about job interview skills and how to land that media job once you’ve finally got an interview. What tips, tools and techniques are there to maximise your chances so you stand out against the crowd? With Emily Gale, talent manager at TV production company Talkback Thames. Simon Wright, a BBC Talent exec with a long career as a recruitment consultant. And Neil Walker who is director of Unlimited Performance (an independent recruitment, talent management and employee development consultancy) and former head of Production Talent at both ITV and BBC London Factual.

Simon Smith and guests talk about the work that goes on behind the scenes of secret filming and the safeguards that need to be in place before filming even starts. With Su Pennington, head of editorial policy for BBC Factual programming, Jamie Rea, executive producer of Mark and Sam’s Big Friday Wind Up for CBBC, Jo Vaughan-Jones, series producer of Watchdog and Rogue Traders and Paul Kenyon, reporter of Kenyon Confronts and Panorama.

Tommy Nagra, executive producer, and Fran Baker, producer/director, talk about their contentious BBC Three documentary Groomed for Sex, first screened in December 2011, which examined the spate of sexual grooming cases involving Pakistani men.

Simon Smith and guests discuss how to become a TV presenter. Joining Simon are presenters Lisa Rogers, Anita Rani and Alvin Hall and Hilary Murray, an agent for Arlington Enterprises.

Series editor Dave Morley and series producer James Longman from Talkback Thames talk to Amanda Lyon about the process of getting a panel show on air each week.

Simon Smith and guests discuss alternative funding models for TV productions. Stuart Cabb is managing director of Plum Pictures, Claire Heys is director of brand partnership and licensing for Endemol UK and Miranda Bertram is a commercial manager for the BBC.

Simon Smith talks to three members of the team behind After Life. They are executive producer Marcus Herbert, series producer Fred Hepburn and presenter Dr George McGavin.

Simon Smith discusses networking dos and don'ts with guests Moray Coulter, Liana Stewart and Elsa Sharp. Moray is the founder of TV jobs site ProductionBase and has worked as a talent executive at ITV, Liana is a researcher and the founder of Step2TV.org and Elsa Sharp is talent manager at Dragonfly and author of How to Get a Job in Television.

Hazel Marshall and guests discuss how to craft good radio documentaries. Joining Hazel are Russell Finch, head of features at Somethin’ Else, Laurence Grissell, award winning producer at Radio 4 and Jon Ronson, a bestselling author and producer of television and radio documentaries.

Simon Smith and guests discuss how to make beautiful TV on a budget. With Phil Smith, a freelance series producer who has worked on Great British Menu, Mickey Lachmann a director who recently worked on the BBC Two maths series The Code, and Clare Tavernor, producer and director on The Culture Show. Joining us down the line is Pamela Gordon, a freelance documentary maker who recently directed the Saira Kan documentary Adopting Abroad.

Multiplatform guru Jon Aird, senior producer of the Psychoville website, talks about extending the characters out of this dark comedy and into their own websites. Keri Davies, scriptwriter and web producer, tells us of his experiences of The Archers and the newly created spin-off Ambridge Extra on BBC Radio 4 Extra. Derren Lawford offers his insights gained as exec producer of BBC Three’s Jail Tales. An ambitious mix of multiplatform content about what it's like to be young and in prison, Jail Tales consists of a series of viral YouTube videos, short films, animated shorts and music performances. Derren is currently the commissioning editor for Global iPlayer at BBC Worldwide.

Amanda Lyon talks to Moira Ross, executive producer of Strictly Come Dancing, Alex McLeod, executive producer of It Takes Two and multiplatform content producer Gemma Hodgson.

Amanda Lyon talks to Nick Murphy, writer and director of The Awakening.

Simon Smith and guests talk about finding your way into writing comedy and drama for radio and TV with Gareth Gwynn, Ed Hime, Debbie Horsfield and Phillip Shelley.

Simon Smith discusses brainstorming with four guests. Hazel Marshall is a creativity trainer at the BBC, Ruby Mulraine is an executive producer at Radio 1 and 1Xtra, Pam Hamilton is joint managing director at Ignite and Jane Lingham is head of BBC audience planning.

Amanda Lyon talks to Kenton Allen and Stefan Golaszewski, producer and writer respectively, of BBC Three sitcom Him & Her. CONTAINS SOME STRONG LANGUAGE.

Simon Smith is joined by four guests to talk about getting ideas commissioned for radio. Caroline Raphael is a commissioning editor at BBC Radio 4, Nicky Birch is head of radio development at Somethin' Else and Phil Tinline and James Cook are executive producers in the BBC Audio & Music documentaries unit.

Simon Smith discusses radio music playlisting and scheduling with his guests. Nigel Harding is a music policy executive at Radio 1, Mike Walsh is Xfm's head of music, Lauren Brennan is a music scheduler at 6 Music and Kevin McCabe is a plugger for EMI.

Simon Smith talks to four guests about juggling motherhood and a career in TV. Emma Morgan is head of development at Mentorn and a mother of two, Ursula Macfarlane is also a mother of two and is a freelance documentary maker, Marion Edwards is vice president of HIT Entertainment and Amy Walker is a director and founder of the Media Parents website.

Simon Smith and guests discuss the freelance lifestyle. To shed some light on this issue he is joined by Barney Newman, a freelance TV producer, David Thomas, who, after 22 years at the BBC set up a media business offering training in communication, broadcast and business skills. We also welcome back to the CoP Show Jude Winstanley, freelance production manager and creator of online jobs site The Unit List.

Emlyn Dodd, Richard Allinson and Phil Critchlow join Simon Smith in the studio to discuss the working relationship between presenters and producers of radio shows. Emlyn produces Scott Mills for Radio 1, Phil is founder of TBI media and vice chair of The Radio Independents Group and Richard is a presenter for BBC Radio 2.

Simon Smith discusses the pros and cons of rebranding with Jeff Anderson, editor of Watchdog and Mary Kalemkerian, head of programmes for Radio 4 Extra. And joining Simon down the line is Steven November, executive producer of ITV’s Emmerdale.

Simon Smith and guests discuss audience measurements for TV, radio and online content. Joining Simon are Jo Hamilton, head of Audience Measurement at the BBC, her colleague and senior planner Michaeljon Alexander-Scott, Matthew Clark, who looks after the online systems that measure the performance of the BBC website and iPlayer, and Paul Kennedy, research director at RAJAR.

Camilla Lewis, Dan Goldsack and Nicola Lees join Simon Smith to talk about getting ideas commissioned. Camilla is managing director at Cineflix UK, Dan is head of factual at Silver River and Nicola is a development producer, founder of TV Mole and author of Greenlit, a book about developing ideas from concept to pitch.

Former managing director of Talk Radio Paul Robinson, head of BBC Audio & Music's General Factual department Ruth Gardiner and Radio 1 DJ Greg James all join Simon Smith to talk about how to get into the world of radio.

Guests: Jude Winstanley, creator of The Unit List, Shu Richmond, author of blog, So You Want to Work in Television, Elsa Sharp, talent manager, & BBC talent manager Sarah Grout.

Amanda Lyon hosts a talk with Simon Chinn, producer of acclaimed film Man on Wire. Simon talks about his latest film Project Nim, a feature length documentary telling the controversial story of a chimp raised as a human child.

Simon Smith is joined by three experts in live TV and radio. Jo Tongue, executive producer of football phone-in 606 on Radio 5 live, Gareth Collett, deputy editor of The One Show and Lambing Live series producer Sarah Gibbs discuss what makes a great live broadcast and how to avoid the pitfalls.

How do producers find the right guests for their shows? And having got them on board what techniques do they use to get the most from them whether they are out-and-out exhibitionists, amateur chefs or vulnerable young people? To discuss casting contributors with Simon Smith is Izzy Fairbairn, a broadcast journalist and documentary maker for Radio 1 and 1Xtra, Jon Lloyd, series producer of Come Dine with Me and Claire Faragher, series producer (series 1) and executive producer (series 2) of ITV’s The Only Way Is Essex.

How do producers persuade people to share their lives and secrets with the cameras? Jane Clancey discusses access with Roger Courtiour, producer of the recent Our War series on BBC Three, Steve Robinson series producer and creative director at Indus Films whose documentaries include Tribe with presenter Bruce Parry and Andrew Tait a BBC producer who’s been responsible for such works as Trouble in Amish Paradise and Leaving Amish Paradise.

What can broadcasters do to make the best use of YouTube? Jane Clancey talks to Jamie Dolling from Google, the owners of YouTube, and the BBC’s Oran Soffair who adapts and publishes BBC content on YouTube.

Simon Smith and guests discuss location, location, location: finding them, getting access to them and balancing the dreams of your director against the reality of your budget. Guests are Andrew Cooke, Jane Soans and Neil Mac.